Today I had to write an author's bio for the back of my book. I also had to take a picture to be sent in, which isn't an easy thing to do given that I am currently four months pregnant and starting to really look it. I'm all in the groove for writing at the moment, and decided that while in this groove I might as well write a blog post. And this is what I have to write about.
Most people think an author's bio would be the least of their worries when it comes time to publish. Au contraire, mom ami! An author's bio is what they will live up to for the rest of their known life! It is that small glimpse into our world people all over the globe may read. And if it doesn't sound just right, it doesn't sound professional. Too long? Unprofessional. Too short? Why did you put it in there?! Too trite? You sound like a fourth-grader writing up an "all about me" paper for school.
See? Not so simple after all.
The best tip I can give is this: READ AUTHOR BIOS FROM NEW YORK BEST SELLERS! The answer to most questions of professional quality is simply to see how the professionals do it. And this is exactly what I did. The results were comforting. I can add in some personal, non-writing-related interests; and I don't have to put down the name of the city that I live in given that it might be changing soon. All in all, a very gratifying tour of the professional world, and one that makes me feel incredibly professional myself.
How did it turn out? Well, buy the book when it comes out and you'll see!...Okay, maybe I just wrote this post to promote my book. Can you blame me?
As always, I remain sincerely,
Yours Truly
Monday, July 14, 2014
Tuesday, July 8, 2014
How to Get Your Audience Back in 5 Easy Steps
My first novella is finished (as in actually, literally finished; no more writing on it allowed!) so I have naturally moved on to the next project. And this one will be considerably more involved than the last. Mainly because the original 'finished' version was well over 100,000 words instead of a mere 25,000. But it is also because there are a lot of important characters, complex backgrounds and interwoven subplots that are vital to the story. So this novel is, as I said, more involved. It will also, however, be more exciting as I begin the process of making it an interesting novel instead of just a mediocre novel, as it is now.
I'm going to relay to you some of the fascinating things that I discovered as I reread the material and began outlining the changes I wanted to make in this new version. And these are things that I believe every writer should look at as they prepare to do any kind of rewrite.
1. Cut to the Chase
The first chapter of the original version took my character from Scene 1 to Scene 2 in about 2,000+ words - the amount of words I now use to cover an entire first chapter, and it wasn't anywhere near done yet. It used up 1,000 of those words just to get around to introducing another character and including actual dialogue. And all of those 1,000 words were used to explain the situation the character found herself in.
In the new version, my character broods for a grand 520 words (literally half that of the original) and spends less time explaining so that the audience, instead of being bored, has their curiosity aroused. Contrarily, I added over 100 words to the dialogue sequence - a part of the narrative that the audience actually would find interesting. My goal in this destroy-and-add-words binge? To skip all the gobblety-gook (as my grandmother would put it) and just tell the story.
2. Cut to the Important Characters
Let's talk reality here. In real life, we meet up with dozens (even hundreds) of people that we'll never meet more than once or twice. We might politely exchange names; we might chat about school, work, the weather, even politics; we might say "see y'all soon". But we'll never actually see those people again. It's just how life works. So it makes sense to assume that to make a novel reflect real life, we have to have our main characters intermingle with at least a few nonessential characters here and there. The more, the merrier, right?
Eh, WRONG! While unnamed nonessential characters do add a sense of reality to the novel (something important in a fantasy), they can become "those characters" that annoy the reader because we read about them once and never read about them again - especially if you already have two dozen essential characters floating around. The audience will never know whom they're supposed to keep track of. (And a well-laid-out glossary does NOT help in these instances!)
The first step in this second step (pardon the repetition) is simple. Replace all nonessential personnel (particularly the named ones) with the minor characters your story is filled with. And voila! Your audience is instantly introduced to people they actually do have to keep track of, and they will inherently care more about what is going on in the story. If and when a nonessential could help you out a little (such as a random villager yelling "fire" or a bank teller being obnoxious), simply remember to keep them unnamed and their part in the story brief.
3. Cut the Narrative
While briefly telling the audience what happened is important so we don't spend the whole six years in the dungeons, it can equally be frustrating if that's all the audience ever reads. For example, the first half of the original version of my novel spent well over 80% telling the audience what happened rather than letting them find out as the characters experienced it. It seemed important at the time; after all, nothing of significance was happening. Then I thought of something - if nothing of significance was happening, why am I boring my audience with this section?
Easy way out - tell the audience. Challenging way - SHOW the audience. In this instance, it seems best if I try the challenging way so that my audience will actually want to get past the boring section of story to where the adventure REALLY begins. And that leads to Number Four...
4. Cut the In Between
So the guy has to spend four years in college to get him to that final road trip across Europe. So what? Everybody has a dry spell in their life wherein nothing of importance happens. If we have to live through those spells, what makes us think we'd want to read about those spells? A writer's first instinct is often to "shorten" the boring sections by narrating what happens briefly. But if the time that elapses is long in any way, shape or form, the audience is going to fall asleep by paragraph two. We aren't being paid by the word like Charles Dickens, people! We can afford to - gasp - skip over the boring parts and launch right into the important stuff.
"But what happens in the middle is what sets up the character for that road trip! It's essential to the story." Our whole lives are about us being set up for what takes place next. If we used that excuse every time, we never would get around to the actual ending, would we? The way to find a balance between not telling enough and telling way too much is to focus on the main conflict and its resolution. Not EVERYTHING that happened to this guy set him up for that road trip.
Pick out the biggest, most memorable things that happened (even if he doesn't get how they all connect yet; let the audience figure that one out and they'll love you for the intrigue). Let the character experience them through dialogue and action rather than narrative. And go through it as briefly as possible.
5. Cut the Insights
Speaking of the things that will happen to our characters...Our audience will know from the moment they pick up the book that something is going to happen to this character. So why bother them the whole way through by giving those "insights" that something is going to happen? They came for a surprise, not a teaser trailer!
Sentences like "Little did she know what was inside" or "If he could only have known what was about to happen next" or (heaven help us) "this was going to change his life forever" have their place. Used sparsely (read: ONCE) they can add a hint of intrigue. It's when you use them at the end of every chapter (read: more than once) that the audience tires of them.
Instead, make the audience ask the questions themselves throughout. And that will build up their curiosity. Answering those questions in a timely fashion will serve you much better than FINALLY telling the audience whatever it was that the character (duh!) didn't know.
Well, that's it, folks - my five-steps-to-getting-your-audience-back lecture. I'll be using it a LOT as I write a new version of this old story. I hope you do, too, as you go through your own rewrites. Remember, your audience is a lot smarter than we authors give them credit for. Don't push them away by being boring and trite. Give them something that will make them share it with their friends (and pay good money to read the next one).
Sincerely,
Yours Truly
I'm going to relay to you some of the fascinating things that I discovered as I reread the material and began outlining the changes I wanted to make in this new version. And these are things that I believe every writer should look at as they prepare to do any kind of rewrite.
1. Cut to the Chase
The first chapter of the original version took my character from Scene 1 to Scene 2 in about 2,000+ words - the amount of words I now use to cover an entire first chapter, and it wasn't anywhere near done yet. It used up 1,000 of those words just to get around to introducing another character and including actual dialogue. And all of those 1,000 words were used to explain the situation the character found herself in.
In the new version, my character broods for a grand 520 words (literally half that of the original) and spends less time explaining so that the audience, instead of being bored, has their curiosity aroused. Contrarily, I added over 100 words to the dialogue sequence - a part of the narrative that the audience actually would find interesting. My goal in this destroy-and-add-words binge? To skip all the gobblety-gook (as my grandmother would put it) and just tell the story.
2. Cut to the Important Characters
Let's talk reality here. In real life, we meet up with dozens (even hundreds) of people that we'll never meet more than once or twice. We might politely exchange names; we might chat about school, work, the weather, even politics; we might say "see y'all soon". But we'll never actually see those people again. It's just how life works. So it makes sense to assume that to make a novel reflect real life, we have to have our main characters intermingle with at least a few nonessential characters here and there. The more, the merrier, right?
Eh, WRONG! While unnamed nonessential characters do add a sense of reality to the novel (something important in a fantasy), they can become "those characters" that annoy the reader because we read about them once and never read about them again - especially if you already have two dozen essential characters floating around. The audience will never know whom they're supposed to keep track of. (And a well-laid-out glossary does NOT help in these instances!)
The first step in this second step (pardon the repetition) is simple. Replace all nonessential personnel (particularly the named ones) with the minor characters your story is filled with. And voila! Your audience is instantly introduced to people they actually do have to keep track of, and they will inherently care more about what is going on in the story. If and when a nonessential could help you out a little (such as a random villager yelling "fire" or a bank teller being obnoxious), simply remember to keep them unnamed and their part in the story brief.
3. Cut the Narrative
While briefly telling the audience what happened is important so we don't spend the whole six years in the dungeons, it can equally be frustrating if that's all the audience ever reads. For example, the first half of the original version of my novel spent well over 80% telling the audience what happened rather than letting them find out as the characters experienced it. It seemed important at the time; after all, nothing of significance was happening. Then I thought of something - if nothing of significance was happening, why am I boring my audience with this section?
Easy way out - tell the audience. Challenging way - SHOW the audience. In this instance, it seems best if I try the challenging way so that my audience will actually want to get past the boring section of story to where the adventure REALLY begins. And that leads to Number Four...
4. Cut the In Between
So the guy has to spend four years in college to get him to that final road trip across Europe. So what? Everybody has a dry spell in their life wherein nothing of importance happens. If we have to live through those spells, what makes us think we'd want to read about those spells? A writer's first instinct is often to "shorten" the boring sections by narrating what happens briefly. But if the time that elapses is long in any way, shape or form, the audience is going to fall asleep by paragraph two. We aren't being paid by the word like Charles Dickens, people! We can afford to - gasp - skip over the boring parts and launch right into the important stuff.
"But what happens in the middle is what sets up the character for that road trip! It's essential to the story." Our whole lives are about us being set up for what takes place next. If we used that excuse every time, we never would get around to the actual ending, would we? The way to find a balance between not telling enough and telling way too much is to focus on the main conflict and its resolution. Not EVERYTHING that happened to this guy set him up for that road trip.
Pick out the biggest, most memorable things that happened (even if he doesn't get how they all connect yet; let the audience figure that one out and they'll love you for the intrigue). Let the character experience them through dialogue and action rather than narrative. And go through it as briefly as possible.
5. Cut the Insights
Speaking of the things that will happen to our characters...Our audience will know from the moment they pick up the book that something is going to happen to this character. So why bother them the whole way through by giving those "insights" that something is going to happen? They came for a surprise, not a teaser trailer!
Sentences like "Little did she know what was inside" or "If he could only have known what was about to happen next" or (heaven help us) "this was going to change his life forever" have their place. Used sparsely (read: ONCE) they can add a hint of intrigue. It's when you use them at the end of every chapter (read: more than once) that the audience tires of them.
Instead, make the audience ask the questions themselves throughout. And that will build up their curiosity. Answering those questions in a timely fashion will serve you much better than FINALLY telling the audience whatever it was that the character (duh!) didn't know.
Well, that's it, folks - my five-steps-to-getting-your-audience-back lecture. I'll be using it a LOT as I write a new version of this old story. I hope you do, too, as you go through your own rewrites. Remember, your audience is a lot smarter than we authors give them credit for. Don't push them away by being boring and trite. Give them something that will make them share it with their friends (and pay good money to read the next one).
Sincerely,
Yours Truly
Saturday, May 31, 2014
My Writing Process Blog Tour
Today, I opened my Facebook account and found my name tagged in a post by a fellow writer and blogger. Her challenge? To join her in the writing process blog tour. At first, I didn't know what on earth it was. Then I read another person's blog entry on the same topic and found myself very much liking the idea of following suit. So, here I go. For those of you who know me personally, please enjoy the glimpse into my writer's mind. For those of you who don't - if you're a writer, you should consider writing this out for yourself, even if you don't have a blog, just for the fun of it. And to get a clear view of what you're doing, how you're doing, and (most importantly) why you're doing it.
What am I working on?
This week, I finally picked up the pages of my printed manuscript and began editing yet again for the third rewrite of what I hope will be my first published work. The book is a novella (short novel). Genre: fantasy - or more specifically fairy tale. It takes the Hans Christian Anderson fairy tale Little Golden Hood (a variation of the well-known Little Red Riding Hood) and expounds on it, adding life to the characters and depth to the story. I'm about halfway through the manuscript right now. And after I finish this rewrite, I will begin the final editing stage.
How does my work differ from others in its genre?
The first thing that is different about my novella is that, while all modern fairy tale retellings alter the story, characters or themes in some way, this one doesn't. Like, at all. I literally took the original story and just elongated it. I like to call it the extended edition. Do I add to it? Of course! The original story, while fascinating, did what all fairy tales do - left out the details so as to get the main story across. I merely fill in the details to help tie all the loose ends together.
For instance, why does Little Golden Hood not get freaked out when the wolf talks? For that matter, how can the wolf talk? And why would he go all the way to grandmother's house to eat her first when he could have eaten Little Golden Hood right then and there and saved himself the trouble? I also add names so that I don't have to overuse the pronoun system. And I add subplots to a) explain the unexplained and b) make the story more interesting to audiences that expect that sort of thing.
This novella also doesn't seek to impose post modern fairy tale tropes on the audience or follow the most recent character stereotypes. Little Golden Hood isn't a rebellious teenager or a curious college kid. The wolf isn't really a human in disguise and he has no romantic interest in the main character. And the main villain isn't a parent or (who'd a thunk?) a religious leader. Furthermore, the main character isn't seeking desperately to alter her own future (or if we're going Disney, to 'follow her heart' and 'find her destiny'). Nor is she the only one who can change the course of events because of something that's just different about her.
Overall, this novella will be pretty by-the-book (literally) and will be very classical in its telling. (Note to anyone interested: classical does not mean boring; just ask my sister-in-law who couldn't put this book down:)
Why do I write what I write?
This question is really too complex to answer in a short blog post, but I'll do the best I can. The first thing I have to clarify is WHAT I write. That is - well, everything. While fantasy is my favorite genre, I also indulge in a good deal of historical fiction, the occasional modern fiction, and even come up with some half-decent science fiction once in a while. Recently, I dove into the very popular dystopian/apocalyptic genre and had a lot of fun. So to answer the question? I write all of these genres and the stories in those genres because God gave me an overactive imagination that simply can't help itself when it comes to inventing stories.
I write fantasy first and foremost because it is the closest we will ever come to the spiritual world outside of the Bible. (The Pilgrim's Progress IS the most widely-read book among Christians after the Bible, you know.) Fantasy gives us a glimpse of the supernatural, heightens our sense of moral conflict, and illuminates the ultimate battle between good and evil that will one day culminate in the victory of Christ over Satan. Add to that the fact that when it comes to fantasy, you're options are quite literally limitless - why wouldn't I want to write fantasy?
It is something that has become a part of my soul, and, I believe, has drawn me closer to God. In writing fantasy, I encounter myself in a setting where the petty problems of a materialistic world are outweighed by the great moral peril. Allegories abound, even when it is unintentional. Spiritual truths unfold as we never see them in other genres. And we can feel the magnitude, catch a sense, of the true war - the spiritual war of which we are a part, we mere mortals.
Okay, so maybe I get a little carried away when I talk about fantasy. But when it comes to writing, fantasy is my first love. So let's move on to other genres.
I write historical fiction because I love history. I love reading about other times and places, events that really took place, heroes and villains who really lived. I like to look at something and imagine myself there - and historical fiction does that. It gives us a chance to wear the shoes of people from a world that has passed us by and is now only memory. (Sorry for the sappy sentiment; I get a little romantic sometimes.)
Other genres I love for the same reason - imagining myself in other places, other situations, other people groups. It's something that not only stimulates the imagination but leaves me feeling deep respect for people who actually live those lives.
And all of it I write for the glory of God - because He's the one who gave me the imagination, the inspiration and the ability to write in the first place.
How does my writing process work?
The writing process is different for many people. Some are able to set a time each day to write a small amount and then just walk away when they're finished. Not so with me! I write when inspiration hits me - and that in itself is an extremely unpredictable occurrence. Sometimes it happens when I read an article; usually with historical fiction it happens as I read through history textbooks or come across interesting documentaries and movies about a specific time frame. Often I am struck by a theme, a character, or a plot line in a film (most likely a poorly written screenplay that just begs me to write something better). And sometimes I just see something or someone in real life that inspires me to ask the question "what if".
Once the idea has formed, it's like a disease (in the best possible sense) that takes over my mind. I think on it; stew over it; play out different scenarios in my head. Then eventually (as soon as possible really), I sit down and write out a summary, a character list, and a title. The next part of the process is filing those papers away while waiting to decide if I really want to focus my efforts on that story or one of the other six dozen all waiting for me to pull them out and write them. Usually I stick with a story that I've been working on for a few years and write it up around NaNo time.
Depending on what's going on in my life, I may or may not get it finished; I may or may not get around to the revision, the rewrites and the editing. But once I do, the book will finally be completed and I'll send it off to CreateSpace.com and have it printed! (This last part has only happened twice, and both times it was just for me or for a friend. We'll see how it goes this time!)
Well, there you have it, folks. And there I put it! It's good to be reminded on occasion of all of those things, see myself go off on tangents, etc. I think all writers should do it at some point every year (or even every season). If you are a writer, you know how important it is to always keep inspired, always keep on writing. Well, this little challenge - this tour - has helped me to do that. I suggest you try it, too. And if you have a blog? Post it! Nothing like knowing other people will read what you write to make you double check why you're writing it. This is a great way to do that.
Until next post, I remain,
Yours Truly
Friday, May 23, 2014
Announcing a Book Giveaway! (And trying desperately to win it...)
Well, this week I'm not going to write a profound post about things only a writer would get. I'm going to be a rat fink and use my blog to get a chance at winning my friend's amazing book giveaway! No judging people, please. When finances are tight, we all do crazy things. Besides, this not only gives me a chance to win but exposes my friend's blog to more people - and I'm all about sharing her blog. Elaine Dalton's poetry is melodic and inspiring; and it often drifts away from the oh so boring every-other-line-rhymes type poetry that we all tend to write when trying our hand at poetry. I haven't read the completed compilation yet, but I'm going to do everything in my power to get that book. If you don't beat me to it...
Sincerely,
Yours Truly
Tuesday, May 6, 2014
The Dark Side of Writing - Villains, Villainesses and My Obsession With Everything Evil
Earlier today, I saw a preview of the film Maleficent and shared it on Facebook. I was so excited; it literally chilled me to think about seeing my favorite villainess of all time brought to life on the big screen (not to mention Angelina Jolie's timeless beauty matched the old cartoon version perfectly, and the voice, and the total awesome evilness...I could go on, but I digress). Lately, I haven't had too much writing inspiration myself. But something about that preview sparked something inside of me, a spark that led to me sharing that video with great enthusiasm.
Then I sat back and wondered about what I had just done. I was promoting a film based on the story of a Disney bad guy - and that's the part that I was promoting, the fact that it was about that bad guy (girl). And it suddenly dawned on me...What must people think?! When they see a conservative, Christian, homeschooled, housewife type like me sharing all over Facebook how awesome I think this movie is gonna be (a movie all about this evil character), what must go through their minds? They have to think I'm some kind of nut! Who wouldn't?
That's when I decided to write this post. I think it's high time I addressed a subject that I have for some time been very passionate about, and that subject is fictional villains and my obsession with them. Part of it is explanatory; but part of it is defense, too. I don't want people to think I'm a nut or that I'm some sort of 'dark arts' fanatic who's going over the deep end. I want them to understand that I am genuinely fascinated by villains in literature, why I find them fascinating, and why I would defend myself for it.
Let me start with the explanation - defining my obsession and giving some history on it. (If you are already totally bored, go ahead and skip a few paragraphs; if you want someone to sympathize with in your own villainy-obsession, read, read, read!) I say obsession quite liberally and by no means with its real definition in mind. When I say obsession, I really mean passion. I'm not the sort of person who spends all their time studying villains (not even literary villains). But when it comes to writing my own stories or reading someone else's, the main villain and their evil plot to destroy the hero is what I find the most interesting.
As a kid, my younger siblings and I played out stories together a lot. And my two favorite characters from fiction to play in those stories were the White Witch from C. S. Lewis' The Lion, the Witch and the Wardrobe and the Wicked Witch of the West from L. Frank Baum's The Wonderful Wizard of Oz. Classic villains from some of the best in children's fantasy. My mother worried about my preference to playing the villain every time, but she never mentioned it to me until years later. At the time, she just let me enjoy my "obsession". I grew to love finding the best villains in other books, as well, even though I hardly knew why. And I focused much of my early writing on simply the hero and the villain. I wanted to have the best villains in my stories, the kind the audience loves to hate.
Now that I'm all grown up and starting to write real books, I've found that this fascination is something that many other writers enjoy, as well. There's just something about having a good villain (if the term can be allowed). Without them, why bother having a hero? And that's where the defense comes in - why should such focus on villainy be acceptable, let alone something to promote?
I once knew a girl who was taking a writing class. And when the teacher asked the students to "step into the shoes of the villain" so as to better write that part, this girl went nuts. She thought that such an endeavor was downright Satanic, and she wasn't afraid to say so. I'm afraid that many parents have taken a similar stance. Evil is evil; it's not something we should promote. Why should we allow it in our children's writing? Why should we watch movies where the main character is a villain?
Simple: without a villain, there would be no hero. I mean, think about it - if there hadn't been a Goliath, who would David have fought? And if he couldn't fight someone, how would he have proved himself to a nation that needed a warrior for its leader? Without the Dark Lord Sauron, how would the brave and noble Frodo have ever shown his true character? How would Faramir have proven himself to his father and his nation? How would Samwise the brave have ever had a chance to be brave?
There was a time once, back before the Fall of Man and the Curse, when the world was perfect, mankind was perfect, and there was neither hero nor villain, nor a need for either. But we don't live in a perfect world anymore. We live in a world that is falling apart, filled with villainous characters. The Bible never shied away from that fact; history hasn't shied away from that fact. Why should literature? After all, isn't literature supposed to be a reflection and illumination on real life?
Our world is dying for a hero. But without a proper villain for our hero to face, how would our hero ever grow strong enough to fight for what is right? Who would challenge that hero and cause him to make those tough choices? A "good villain" forces not only conflict and decision but also the building of character. As humans, we tend to just let go of things, to be content with what we have and ignore the deeper problems of life thinking they'll just take care of themselves. Villains force us to make decisions, take sides, know what we believe and either stand or fall for it.
If Hitler had never risen to power, a good many people would've gone on thinking that there was no reason to worry about the people of Europe. Germany was in a state of extreme despair and desperation. Hitler merely brought that to light. He also brought out the other villains that were already doing despicable things in the dark. Because Hitler went to war with Britain, because the Japanese joined in and attacked America - we were forced to destroy an evil that we might well have ignored until it was too late.
My final defense? God Himself has written out for us in His Word the greatest example of hero versus villain, and He by no means lightens up the villain or skirts the issue. Jesus Christ, our savior, has an arch enemy - Satan, the devil. Do we ignore that? No! So why should we ignore literary villains? Without our even meaning to, our stories reflect what we believe about good and evil, and the world and about God. Thus it naturally follows that our stories should reflect that ultimate conflict between Christ and Satan. If we don't provide a worthy opponent for our heroes, why should our heroes bother fighting?
Well, maybe I haven't convinced you that it's okay to let your kids write elaborately about their villains. And maybe you still think I'm a nut. But I've made my case. Whether or not it's worthy of consideration is entirely up to you. Just remember one thing about villains - it's okay to get excited about them when you realize that the main point of having a villain in the first place is to challenge the hero. The harder the challenge, the deeper the hero will become. (And in the second place, the bigger the villain, the greater the relief when he/she falls.)
So, I'm going to go see Maleficent when it comes out. I might not like it. But I'll go in good conscience knowing that my obsession with this master of villainess-ery is totally fine. What can I say? It's a Writer's Thing.
Sincerely,
Yours Truly
Monday, May 5, 2014
Original Musical Score - Or Not So Original
I don't know about you, but I find that I do my best writerly thinking with music playing. Can't think of an idea? I flip open my lap top or plug in my mp3 player (yes, I still haven't upgraded to an iPod yet) and start going through my favorite inspirational pieces. Music has always been an art that moves us emotionally, that stirs us up somehow (though we hardly know how) and inspires us. When it comes to writing, it's no different. Writers need a good musical score to write to, and that's a fact.
The wonderful thing about writers, though, is that unlike a lot of other people we don't tire of music very quickly. For instance, I usually buy one or two songs at a time and then proceed to listen to them over and over and over again. I will literally put a song on repeat so that I can spend the next ten to fifteen to twenty minutes (sometimes even up to an hour) listening to the same piece with no variation. If my husband had to do that, he'd most likely go insane by the fifth time it had played.
Another oddity that many writers enjoy is listening strictly to movie soundtracks. Neither my mother nor my husband get that. But to the writer, a soundtrack is like the background music of our own creations. In fact, many friends of mine who are writers do the same thing I do - create playlists from many different soundtracks with songs selected and arranged to mirror their own stories; like making a soundtrack for your book. (Note: this is not illegal provided it is solely for you to listen to and you don't try to pass it off as your own. Just putting that out there.)
Now, maybe I'm a little different than other writers, but something tells me I'm not. You know that one song that just fits that particular character or even a particular scene so perfectly? Maybe it's a hard rock piece or a Celtic ballad. Maybe it's a soundtrack selection or a piece from a hit musical. Maybe it's even classical, from Mozart or Vivaldi or Beethoven (I created a playlist specifically for when I'm writing historical fiction that is made up entirely of classical pieces and soundtracks that sound classical). There's just something about certain pieces of music that are so fitting to our worlds, our stories and our characters. And nothing else can quite compare to the thrill of music when it comes to writing.
Why is that? Why is it that, whether with words or without words, and regardless of genre, music is so essential to the work of a writer? Victor Hugo, author of Les Miserables, put it this way (and I totally agree with him): "Music expresses that which cannot be put into words and that which cannot remain silent." What else can we say about it? Music describes the soul of the writer in a way that no amount of writing can. Our musical selections help us see our worlds as we create them, define our characters and their personal challenges, set scenes and describe action sequences in ways that make it possible for us to see them clear enough to write them.
This post is basically just an excuse to get to talk about what inspires me most as a writer (which is really what this whole blog is about:). But I hope it gives you something to think about, too. My favorite of the week (and new obsession) is by Lindsey Stirling and Lzzy Hale - "Shatter Me". Reason for the obsession - it is a hauntingly beautiful melody filled with both the delicate art of strings and the heart-pounding thrill of dubstep beat. Besides this, the words are chilling, the concept brilliant, and the balance of all elements impeccable. (Seriously - I think I wrote this whole post just to get to share this song:) So get out there, find your musical inspiration, and start writing!
What songs inspire you? Leave a note in the comments! And remember - "After silence, that which comes nearest to expressing the inexpressible is music." (Aldous Huxley)
Sincerely,
Yours Truly
The wonderful thing about writers, though, is that unlike a lot of other people we don't tire of music very quickly. For instance, I usually buy one or two songs at a time and then proceed to listen to them over and over and over again. I will literally put a song on repeat so that I can spend the next ten to fifteen to twenty minutes (sometimes even up to an hour) listening to the same piece with no variation. If my husband had to do that, he'd most likely go insane by the fifth time it had played.
Another oddity that many writers enjoy is listening strictly to movie soundtracks. Neither my mother nor my husband get that. But to the writer, a soundtrack is like the background music of our own creations. In fact, many friends of mine who are writers do the same thing I do - create playlists from many different soundtracks with songs selected and arranged to mirror their own stories; like making a soundtrack for your book. (Note: this is not illegal provided it is solely for you to listen to and you don't try to pass it off as your own. Just putting that out there.)
Now, maybe I'm a little different than other writers, but something tells me I'm not. You know that one song that just fits that particular character or even a particular scene so perfectly? Maybe it's a hard rock piece or a Celtic ballad. Maybe it's a soundtrack selection or a piece from a hit musical. Maybe it's even classical, from Mozart or Vivaldi or Beethoven (I created a playlist specifically for when I'm writing historical fiction that is made up entirely of classical pieces and soundtracks that sound classical). There's just something about certain pieces of music that are so fitting to our worlds, our stories and our characters. And nothing else can quite compare to the thrill of music when it comes to writing.
Why is that? Why is it that, whether with words or without words, and regardless of genre, music is so essential to the work of a writer? Victor Hugo, author of Les Miserables, put it this way (and I totally agree with him): "Music expresses that which cannot be put into words and that which cannot remain silent." What else can we say about it? Music describes the soul of the writer in a way that no amount of writing can. Our musical selections help us see our worlds as we create them, define our characters and their personal challenges, set scenes and describe action sequences in ways that make it possible for us to see them clear enough to write them.
This post is basically just an excuse to get to talk about what inspires me most as a writer (which is really what this whole blog is about:). But I hope it gives you something to think about, too. My favorite of the week (and new obsession) is by Lindsey Stirling and Lzzy Hale - "Shatter Me". Reason for the obsession - it is a hauntingly beautiful melody filled with both the delicate art of strings and the heart-pounding thrill of dubstep beat. Besides this, the words are chilling, the concept brilliant, and the balance of all elements impeccable. (Seriously - I think I wrote this whole post just to get to share this song:) So get out there, find your musical inspiration, and start writing!
What songs inspire you? Leave a note in the comments! And remember - "After silence, that which comes nearest to expressing the inexpressible is music." (Aldous Huxley)
Sincerely,
Yours Truly
Friday, April 11, 2014
Life Issues
During the past three weeks, my life has been altered drastically by a new set of circumstances. That tends to happen when you live in the real world. (And in fictional worlds; just ask Frodo Baggins or Oliver Twist!) So what happens to writing when life changes? It gets shoved to the side in favor of important things. You know, like relationship changes, moving to a new house, an addition to the family, a promotion at work (or even a demotion). What can we say? Stuff happens.
The doom it spells for our writing, however, shouldn't be permanent. In fact, if anything a break from writing should only give us more enthusiasm for our work. So...what do we do when that doesn't happen? What do we do when the enthusiasm just doesn't come back?
The first thing is: DON'T DESPAIR! My first instinct is usually to assume that I'm some sort of terrible writer because I can't be consistent. But hey, consistency problems affect everybody - ESPECIALLY when you have a new interest that you have to devote your time and efforts into. When I first got engaged, writing was the first thing to go. Now, a full year later, I'm only months away from publishing my first novel. See? Just give it time.
The second thing is: DON'T FIGHT PROCRASTINATION. Work with it. You don't feel like writing right now? You have something else that you'd really, really rather be doing? Fine! Do that other thing. Enjoy what you feel like doing for a little while; then get back to the writing later. Unless you're bound to an impending deadline, the writing will wait.
The third thing is: MINIMIZE GOALS. Something that will almost literally kill your writing is setting enormous goals for yourself. It will sound logical; it will seem like the only option left. After all, you're way behind now. But the last thing you need when you have a busy schedule is a massive writing project that you wanted to be fun and now just...isn't. Keep it as a fun project (no matter how seriously you want people to take your writing). Set small, feasible goals, I'd say half of what you normally do. Then as you check off each section, you'll find yourself regaining momentum.
I chose not to despair when I ran out of steam for blogging; I refused to fight the procrastination and let life take its coarse. My only goal just now is to get something posted this weekend so that I can say that I did. And here it is - I just had to make myself sit down and do it when nothing else was going on. See, folks? Not that difficult. Now, YOU go out and do it!
Sincerely,
Yours Truly
The doom it spells for our writing, however, shouldn't be permanent. In fact, if anything a break from writing should only give us more enthusiasm for our work. So...what do we do when that doesn't happen? What do we do when the enthusiasm just doesn't come back?
The first thing is: DON'T DESPAIR! My first instinct is usually to assume that I'm some sort of terrible writer because I can't be consistent. But hey, consistency problems affect everybody - ESPECIALLY when you have a new interest that you have to devote your time and efforts into. When I first got engaged, writing was the first thing to go. Now, a full year later, I'm only months away from publishing my first novel. See? Just give it time.
The second thing is: DON'T FIGHT PROCRASTINATION. Work with it. You don't feel like writing right now? You have something else that you'd really, really rather be doing? Fine! Do that other thing. Enjoy what you feel like doing for a little while; then get back to the writing later. Unless you're bound to an impending deadline, the writing will wait.
The third thing is: MINIMIZE GOALS. Something that will almost literally kill your writing is setting enormous goals for yourself. It will sound logical; it will seem like the only option left. After all, you're way behind now. But the last thing you need when you have a busy schedule is a massive writing project that you wanted to be fun and now just...isn't. Keep it as a fun project (no matter how seriously you want people to take your writing). Set small, feasible goals, I'd say half of what you normally do. Then as you check off each section, you'll find yourself regaining momentum.
I chose not to despair when I ran out of steam for blogging; I refused to fight the procrastination and let life take its coarse. My only goal just now is to get something posted this weekend so that I can say that I did. And here it is - I just had to make myself sit down and do it when nothing else was going on. See, folks? Not that difficult. Now, YOU go out and do it!
Sincerely,
Yours Truly
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