Showing posts with label Writing. Show all posts
Showing posts with label Writing. Show all posts

Tuesday, March 18, 2014

What's new?

Hello all. I've been a bit preoccupied by the Portland Wizard World Comic Con, and then life itself, which also tends to take over. Especially for new(ish) moms.  The Wizard King has had its release and it is being received very well. I hope it continues! I have a few projects on the fire including book 3 of the Trilogy of Tinna; Tinna's Reign, which is being padded out and revised before I send it to be edited.

The third and final cover by Abigail Larson. :)
The second project i'm working on, but is at present only about a 1/4 written is the House of Black. It is a story of a little witch by the name of Kimber and her battle to save her sisters and her house from attack by an ancient enemy.

Long before the days of old,
When ic-ed skies bore naught but cold,
When crops did wither and war did rage,
Were born the saviours of this age.

Tamed the land, the beasts, the dead
Did light and dark and vibrant red.
Holders of the mother’s gift
From despair they did us lift.

But virtue ruled with golden mane
And enemies the three were named.
Driven into secrecy,
Were the mother’s gifted three.

Hunted by their very own,
The Gifted now must live unknown.
Gilded swords were raised to fight,
To end the Black, the Red, the White.
And finally, it's so new I haven't even begun to work on the cover, I am working on 'Wolven' -- which is not about werewolves, and also dabbling into the idea of another book for the Wizard King world.

Monday, August 13, 2012

Radio Silence Explained

Hello all.  I know, I haven't been very chatty lately. I haven't been very creative either. Just after Tinna's Might was published, I discovered I was pregnant. Go figure. :)  Of course, with pregnancy comes the requisite trials and tribulations, starting with morning sickness and sore ta-tas to migraines and a desire to do little more than sleep.  Yes, I over-share. Live with it. :D

It is timely that I am with child when my heroine is also faced with this surprise at the same age as the author. Maybe it was a foreshadowing, maybe I'm a little bit psychic. Hah!  I have been writing, but sporadically. I've set aside book 3 for a bit, I am taking a break from Tinna's world for now, since Tinna's Might is still fresh on the market.  I'm focusing instead on a couple of other stories I've been working on.  I am finding inspiration difficult lately, but it's slowly coming back.

Hopefully I'll have some new titles available soon enough. I'm particularly happy with one book I'm working on right now, and look forward to sharing it with readers.  For now, I'm moderately quiet, except on my Facebook page, where I get a little too riled up by political and religious matters. I tend to be a bit of a blusterer--but I am a fiery character and I get worked up about the world around me. It's the blight of an writer, to be honed into the world a little too deeply.

Those of you who have purchased Tinna's Might, please don't forget to post your reviews on your preferred bookselling site... It's selling nicely in spite of my complete lack of marketing, so that's a good sign, but I'm only getting star reviews on some eBook sites, and I'd like to see what readers have to say. Writers (most writers) benefit greatly from reader feedback. Even the tough stuff. That doesn't mean I'm calling out open season of evilness, but I do hope you'll be objective in your review.

Thanks again for being supportive readers! I appreciate everything you do to keep me going as a writer, and I hope I'll have more stories to offer you soon.  And thank you for your patience while we waited out the editing process for Tinna's Might.  Ping me on Twitter or Facebook, I am responsive and always happy to chat it up.

Here is a lovely GIF of a children's book that I think every family should own. :)



MM


Monday, November 28, 2011

I am writing, writing, writing.


I am quickly discovering that with ebooks, the more titles, the better. At least that’s what I’m being told by a variety of authors who publish ebooks, and this has been somewhat proven to me by the rather brisk sale of the Blackroot novel I put on Smashwords sometime back. At 99¢, it is the best-selling ebook I have, outselling both Tinna’s Promise and even the free short-story collection, The Belletrist. It’s sort of shocking because Blackroot is such a departure from what I usually write, it’s gory and graphic, and a little weird. But the readers seem to like it. iBooks users especially, and lots of Sony Reader users. The desire to offer more titles has given me a creative kick in the pants, but on the flip side, it has also presented me with way too much distraction.

I am currently about 60% on Tinna’s Reign, editing for Tinna’s Might has slowed to a crawl, but it is still moving. I’d say we’ve moved up to about 84% completed, and I have two other books I’ve been pecking at, one called the Wizard King and another The Blue Journal. The Blue Journal is sort of out of my comfort zone, being written in journal form in first-person, which is challenging to someone who almost always writes as a narrator. The Wizard King is a strange hybrid of a Regency romance novel and a fantasy. I started it about four years ago, but it fell into my ‘false start’ pile, and then I was browsing my old starts and rediscovered it, and found some fresh ideas popping into my head as I started reading it.

So this means I’m working on four books concurrently. Probably not a good plan—most people will tell you to pick a project and stick to it until you’re finished, but it’s a bit hard to do when you are having a hard time finding inspiration on one, and have come to a complete halt while another has found a little pocket of inspiration to feed it. I guess, as I always do, I will go where my instincts point me, and let the organic, creative process work itself out.

The point of it all is to offer a broad range of titles for readers. I have the bones for a few good, meaty novels, and I’m working on finishing up the Tinna Trilogy. I may revisit Oromoii later on, but for now, I’m going to concentrate on these other titles and keep out of my false start folder for a few months—just in case something else catches my creative eye.

Argh.

Monday, July 25, 2011

Them's fightin' werds!

"Take that, old bean!"
Fight scenes... I hate them. I hate reading them, I hate writing them. Blow-by-blow descriptions of battles small or army-sized, do not float my boat. Some readers love it. Not me. If I’m reading a book, and there’s a page or two of fight descriptions, I’ll just skip those paragraphs and take up where the story left off. My boredom with fight scenes naturally affects how I write them, and I’ve just gotten a little note from my editor telling me in none so many words; “Miranda, you don’t know what the hell you’re writing about. Your fight scenes suck.” And he is 100% correct. I suck at fight scenes!


If I could get away with it, whenever my books demanded a fight-scene (and they invariably do, because I am irrevocably drawn to writing about ‘power-chicks’ who kick ass, so I’m kind of digging my own hole here), I would simply write: “She came at her opponent like a spider-monkey and kicked his jerky ass into oblivion” for a fight scene, I probably would. But I can’t, so in this special case, I have to summon the assistance of someone who can. Luckily my editor has some experience in this realm, so he has helped me get through this first one. It makes me wonder about Tinna’s Promise and how much help those fight scenes require...!



The lesson here is that if you are knowingly weak about a certain subject; don’t try to fake it because it comes off that you’re faking it. It’s why writers who don’t have direct experience about something do research and make sure they get their facts right because invariably, someone is going to come along and say; ‘dude, that’s so wrong!’ And if you haven’t experienced something, you should refrain from trying to write about it, because again, your reader who does know about this stuff will be turned off. Credibility is an important thing when it comes to writing books, no matter what the genre. Aside from comic-book ‘credibility’ stumpers, like spider-bites and falling into vats of radiation (you ever wonder how it was possible that all the vampires and demons in the Buffy and Angel series were martial-arts experts as soon as they clawed their way out of the earth/hell-chasm?), most books try to create the incredible in a way that allows their readers to suspend their disbelief. And when you have small, feisty little dark-haired women kicking the ass and taking names of anyone that dares confront them, saving the world, and raising general hell, you sure as hell better be writing it all in a way that doesn’t sound completely contrived.


I spend so much energy and time espousing the benefits of editing not because I believe manuscripts (regardless of their being independent or commercially published) should be clean and professional, but also because an editor does so much more than fix apostrophe use and fix your homonym mix-ups; they are also your consistency checkers, they question your character points of view, they call you out on your bullshit and they help you shape your story into something *they* would want to read. And *they* are the readers you are striving to sell this story to. They are your test-reader, your first audience, so for God’s sake, if your editor is telling you something sucks, do not just sit there and whine about it or assume you know your potential readers better... listen to them and fix it. And don’t think so highly of yourself that you think you have all the bases covered and you know enough about something to just fake it.

Trust me. It just won’t fly

Monday, April 4, 2011

When editing reared its ugly head... Miranda turned her tail and fled

Tinna’s Might is turning out to be more of a bear to edit than I had arrogantly assumed. I thought the edit would fly by, but I am fortunate to have someone (Ien Nivens) editing the book who has invested himself in it as well and feels strongly about making bold suggestions for the work. The editor also happens to be a writer which adds an interesting element to the process. Recently, there had been a longer-than-usual gap of time between edited chapters. I dropped him a note asking him if everything was okay. He wrote back that he had the chapter finished and sent along a note asking me how open I was to suggestions of ‘significant change’. At first I was like... Uuuuuughhhhh... Seriously?


But then I read his explanation and could not deny that he was totally right. He was concerned about the timing of a significant turn in the plot, the build-up (or lack thereof on my part), and the way the story is divided up (chapter and break-wise) to maximize the impact of this plot-turn. Ien was completely 100% correct in this determination. It’s funny how when you’re writing and proofreading as you go along, in your head you think that something is impactful enough—that it makes a statement—when in truth, you haven’t featured it enough so that the reader will recognize it as a significant moment in the story. I simply didn’t see it. But Ien did. He was a bit reluctant to ask me to make this huge change, and sent me a note that was almost apologetic about it.


I promptly responded with a: “No, no, no! You are totally right. This is exactly the sort feedback I need!” note. His suggestion really proved to me that I picked the right person to edit this book. He was vastly relieved by my non-defensive response--and probably a bit surprised because we writers can be whiny sometimes. What Ien disclosed to me after was that he too is in the middle of his writing project and he realized he was asking me to do something he needed to do as well. So he took the extra time do it with his own work so he could feel okay about asking me to make a large change.


So to work I must go. His edits are wonderful and he’s doing a great job. But what I appreciate most is that he believes in what I’m writing enough to be honest with what he thinks needs to be changed. He’s cautious about it, probably worried he’s going to hurt my ego or something. But luckily, I’m okay with criticism. I even value it. A friend of mine calls criticism a form of ‘excellent failure’. She says it’s something to learn from, not something to hide from. She’s not wrong. Yeah, it hurts when someone picks apart what you’ve painstakingly written—but ultimately, these editors are looking at our work from the perspective as a reader—and helping us to make sure our story is told in the best fashion possible.


Ien is extremely respectful of my style, and so was my first editor, Dorrie O’Brien; although I have to say that I sort of wish Dorrie had been a bit harder on me—and suggested some big changes along the way. Someday, I might re-edit Tinna’s Promise. What I would change first off, would be the first chapter. I don’t think it was a great idea to start a book off with someone you didn’t really like very much (although given a chance, Taneth grows on you)—but your opening pages are crucial to draw the reader in, and an arrogant rant just isn’t attractive. You live, you learn. Tinna’s Promise remains something I’m very proud of and I stand by it, even with the questionable choice for a first chapter. But I do hope to fix it some day.


The moral of my story is... editing is a crucial process a book must go through. And honestly, it makes a better writer of you. Challenges and huge changes may arise, and it might make you want to cry into your soup, but in the end, you’ll have a better product for it and you’ll be thinking about that on your next project.


I cannot tout editing enough. I confess with Blackroot, I didn’t bother, but Blackroot is a source-story, not a full novel; I took elements of Blackroot and spread them out in the Tinna Trilogy, so I look at Blackroot like practice rather than the real thing, so I won’t invest on editing for it. It’s just a lark. The Tinna Trilogy is not. I take these three books very seriously. I realize how important it is to make sure that there is as much effort invested in lending them quality and worth as possible; not just for the readers, but for my own integrity as a writer.


So find yourself a good editor—and listen to them—even if the things they ask of you aren’t always what you want to hear.

Monday, February 28, 2011

Progressions


I've been writing for so long, I have three old hard-drives containing hundreds of documents I've started and some I've finished. Most of my old stuff, I can't get access to, unless I pay someone for data-recovery. All my backups are missing or outdated. But even in with the collections I have on my current computer systems and thumb-drives (thank heavens for the invention of the thumb-drive!), there are so many I can barely keep count. As a writer, I am rather undisciplined. I tend to start writing without even the slightest idea of where I'm going with the story; where many other authors won't even start writing until they've got a complete outline and character descriptions for every character in the book.

So I have folders... one called 'False Starts' where stories I've started of 20-30 pages or less are categorized into this folder. There are trends; story starts that are similar to other starts that begin to move in different directions. I read through them fairly often, hoping to pick one up and move it into the 'Potentials' folder. Potentials are books that are at least 50,000 words or more that I've somehow become annoyed with or stuck on. Some even have a jumble of notes typed after the last completed paragraph describing where I want those stories to go and outlining what needs to be written. Sometimes I follow those outlines, sometimes the story evolves into something else. It's just my process.

There are the completed books, they get their own folders. Most of the completed works I have are very old and quite bad; so I keep them, but they don't go anywhere.

There are also the things that are in the "Shorts or other Crap' folder; where my short stories and such are stored.

Every once in a while, I'll dip into my Potentials folder and start playing with one of the half-finished books. Or I'll read one I started and suddenly find my muse and just start writing it. 'Blackroot' is one of such books. However, the downside to this book is that many of the themes and ideas from Tinna's Promise actually were derived from this 'Potential'. Blackroot is older than Tinna's Promise by a few years and I drew a lot of stuff out of it. Abandoned child, the character physical likenesses (many of them tend to look like a gypsy girl I once knew when I was young). I can tell just by the grammatical errors how far back my books go. There's a definite improvement in my writing skills with each passing year and with each new interaction with an editor.

Blackroot is disturbingly dark. I sometimes wonder where the hell this stuff comes from, honestly, and sort of makes me wonder what is going on in my own head. It's a dark fantasy; a mystery fantasy and a pretty gritty one at that. It's a story of darkness and redemption where there should be no redemption. It's violent, it's graphic, and there are some pretty descriptive adult 'themes' going on in there.

It's bare-boned; lacks editing (which would really piss off some people I know who rail against publishing unedited material--including me and one of my reviewers so I won't submit it to her). But it was pretty much finished, so I posted Blackroot on Smashwords for 99¢ for the hell of it. So if you're looking for something weird and dreary and unsettling with some erotic moments; then have at it. Here are links to both of my ebooks on Smashwords:

Blackroot 99¢ on Smashwords
Tinna's Promise 99¢ on Smashwords

Tuesday, February 1, 2011

Please.... edit. I beg you...

Independent writers... hear me out. It is no reflection on your creativity or your talent if you require the services of an editor. A real editor. An experienced, professional editor. It really doesn’t mean you can’t write, it should be a matter of pride, it should be a moral obligation to have someone proofread and edit your manuscript before you go out and have that baby published. Period.

Your readers pay a significantly higher cost for your print-on-demand work. What they should be paying for is a carefully assembled, professional package, from the cover to the contents. You paid money to have your book made available for print-on-demand publishing and ebook... then pay the money to make sure it is a product that respects the customer that is buying it. And by respect I mean having it EDITED. :::ARGH!:::

I’ve been reading a lot of indie work lately because it’s really cheap for my nook... and the thing that stands out most with these self-published authors is that they are not disciplined enough to keep from publishing their work when it obviously isn’t ready. PubIt! and Kindle authors especially—they seem apt to slap anything up there and call it finished, and that is a total no-no.

I read a book the other day; a Twilight-wannabe book where the author left at least one grammatical error per-page. From blatant misuse of words, to horrid spelling to outright bad writing—it was a bloody trainwreck. Last night I bought a book I wish I could return. In the first three pages, I was assaulted with the most horrendous writing. For one, the tenses are all over the place:

“The women laughed as they walked back into the house. When inside, Lizzie sits down at the bay window and gazes out thoughtfully...” GAH!!! This writer also writes dialogue like it’s written for Robbie the Robot; “I am glad you share my beliefs. This is an omen. We should go to Egypt. In my dream it was raining. It doesn’t rain in Egypt.” Who speaks like that? The writing is as dry as the desert the author is writing about and I couldn’t get past page 16. In the span of the FIRST TWO paragraphs, I was told three times that the space was an ‘expanse’. STOP OVERWRITING! Edit yourselves! I haven’t gotten through 2% of the story and I’m already bored.

I know I’m guilty of the repeated word or phrase. For instance, count how many instances of the word ‘albeit’ appear in Tinna’s Promise... I’m so annoyed I didn’t notice it until after editing. Editors are not the cure-all, but they can take something that’s over-thought and simplify it... they can take ideas that are not consistent and make them flow... they can make conversations interesting, they can make reading the text an easy, simple task and keep the reader’s eye from being held up by stupid errors.

Yes, my short stories are full of errors, yes my posts are full of errors, but I'm not asking anyone to pay for what I'm posting up here. If you are taking money for your work... G.E.T. A.N. E.D.I.T.O.R or DO NOT PUBLISH! Please. Damn. I want my $2.99 back!

/Rant

Wednesday, December 22, 2010

He turned away.

They’re reaching, they’re grasping,
They’re smiling and asking
Her questions that she doesn’t hear.

Their faces are crowding,
They’re all talking loudly,
They see her but she isn’t there.

They claim that they care
While they all strip her bare
And they greedily take in the show.

He watches this madness
He can see all her sadness
Underneath her gaze, he knows.

He turned away,
He closed his eyes,
He knew her shame
Under her disguise.
He saw the soul
Underneath the skin
That the others longed
To crawl within.
He turned away,
He was being kind,
Showing her in truth
That he saw her mind.
He turned away.

They decided and chided
And sometimes they guided
Because they all thought that they knew best.

He watched and he frowned
They turned her life upside-down.
But he wasn’t at all like the rest.

She’s exposed and she’s naked
While the rest of them take it,
He can just avert his eyes.

Her unseeing gaze
Caught the turn of his face
And she thought she was going to die.

Because he turned away
He closed his eyes
He knew her disgrace
Under her disguise
He gave her space
Gave her a reprieve
He turned his back
But he didn’t leave

He turned away.
He closed his eyes
He turned away.
From all the lies.
He turned away
He turned away

Monday, November 29, 2010

The Formula

We are all influenced by what we see and read. All writers are. We all have dynamics that we repeat; characters we tend to carry from story to story—it’s what we do. Some write entirely for themselves, so they don't pay much heed to formula and style; but those of us who write for others, we have a moral duty to not be repetitive, unoriginal and predictable. Who wants to fall into formula? Why spend so much time writing a manuscript that has been written before?Avoiding that is hard. Part of avoiding having your story sound like every other story in its genre is to read and watch, and to inject YOU into what you write, no matter what the genre is.

I’ve known a few people in my life who don’t read much despite writing. They claim it’s so they aren’t influenced by other books, but in a lot of cases, they simply don’t realize that they’re writing something that’s been done a bazillion times, and if you just take away the details like the settings, the time frame, things like that, the core of the story, the character, the motivations, the plot is the same as pretty much every other book on the shelf. Let’s face it, the world has been going on doing its thing for sometime, and the written word has been around for a bit; so it’s not that easy to have an original idea any more. Case and point... how many remakes and sequels are we seeing these days? They’re want for material... And so are novel writers.

Pitfall: Predictability.
If you look at your story objectively, do you think it’s predictable? Do you think that the happenings would be expected? Would the love be requited, would plot take a turn, would your reader be surprised and taken off-guard? Staying away from formula means staying away from predictability. Avatar was a wonderful movie to watch, but we all knew the moment we saw it that he’d be riding that really giant orange/red dragon everyone feared in order to secure the respect of the people. Avoid pointing things out... in many stories, the author will mention something seemingly innocuous ... a broomhandle hitting the floor... a window with broken shards of glass... it's transparent and it takes away the surprise. The reader is automatically going to know that it’s going to be related to the next bit. Don’t be obvious. It’s annoying.

Pitfall: Archetypes:
The tired ex-soldier who needs revenge; the comedic sidekick; the jaded warrior, the strong chick that really secretly wants to be objectified, pursued and rescued; the untamed, willful woman who is tamed by the strong-willed hero; the dogged underdog, the grunting strongman... let’s face it; you might as well be picking characters from an MMORPG character builder these days... there are so many old, boring archetypes. Your characters are supposed to be real people in the story. They have backgrounds, they have motivations, even the good people have flaws... they don’t do things just because, they hesitate before they jump into the fire, the bad guys can be likable, heroes can make mistakes.

Pitfall: Recycled Settings.
Impersonal and recycled settings can get old quickly. It’s one thing to create settings, but another to make them yours as an author. What makes fiction good is the believability of the places you describe, the detail that puts the reader in your head. Pulling from your own life, your loves, you can create something intriguing for others to ‘see’. Pulling from the basic novel 101 settings, like Middle Earth, or New York, or L.A. with no personal references to it, no details is going to make it seem generic. It’s the little restaurants nobody knows about, it’s the shape of a window, and it’s the quality of sound in a room... you have to put your readers somewhere they can picture; and not rely on past authors’ renderings to support the ‘realness’ of your settings.

~~~

If you just write something that seems generic, or like another author’s work, it’s nothing but Fan Fiction. What makes a story readable isn’t just the story, it’s what is added of the author’s own personality and life experience. Even the most bizarre places should still be believable, which means you have to inject some of yourself into what you write, and not just write a story where A character goes to B character and fights them over C character who is in D location.

Don’t be formula! Don’t be predictable. Your characters should be as real as the people in your life, and don’t create worlds that are someone else’s... inject your own world, whether or not it’s somewhat fabricated or it’s a study of the neighborhood outside your door. As a reader, I implore you. As a writer, I implore myself. ;)

Tuesday, November 9, 2010

Ma raison d’être.



I’ve always been a confused soul. I still, at close to 40, don’t know what direction I want to go. Some kids have their future and career all figured out by career day in their sophomore year… others, like me, sort of dangle without bearing or direction pretty much their whole lives, not really fitting in anywhere. The things I went to school for? They are completely uninteresting and useless to me now. We try one type of job, we do pretty well at it, but it gets boring; then we try another type of job, tackle it as a challenge, master it, and then get bored with it and stop caring. That’s been the story of my life. All the assessment tests, IQ tests, career placement tests, all the high-hopes for my becoming an engineer, a scientist or a Nobel Peace Prize winner… Laughable. None of that helps anyone figure out what they are really meant to do, and what really makes them happy and feel fulfilled as human beings.

My résumé is a patchwork. I start my professional life off in the non-profit sector as and AmeriCorps*VISTA and I just go haywire after that… from marketing and graphic design to payroll management, copywriting and ad creation to office management, to now, environmental work. Seriously; it’s like having multiple personality disorder. I can do a wide variety of things, but who looks at a résumé like mine and says: “Whoa, there’s someone who’ll stick around?” Dude, unless the job you’re offering changes constantly, and doesn’t become rote… sure (but that job does not exist). But if I do the same thing year after year… I’m going to move on at some point. As evil Willow says, in my all-time favourite TV series ‘Buffy the Vampire Slayer’... “Bored now.”

I do know two things for certain: 1) I’m happiest when I’m creating things; and 2) I’m happiest when I have the freedom to really write. Writing is the only consistent craft that has stuck with me from childhood. I’m one of those people that tries everything; wood-carving.. bored with it. Painting.. meh… Pottery… pfft… ::sigh:: Writing on the other hand… that one just never went away. I started reading at a young age, and the idea of being a story-teller was very appealing to me. So I would write clumsy little stories. This sense of creativity was fostered by an exceptional teacher in the fifth grade, who read us wonderful stories, who had us performing abridged versions of Shakespeare, who turned words into images, and who taught us to write, illustrate and to bind our own books.

Life affects your creativity. It’s a given. The more work demands of you, the more your family demands of you, the less you write. In my twenties, I churned out several novels. They were all extremely bad, of course, but it shows that there was a well of creativity and I had the energy to stay up until three or four AM (my creativity really peaks between midnight and four AM—not sure why) and still function at work. Of course, these days, I can’t do those hours any more. The older we get, the less time we have for what is ultimately (unless you’re Stephenie Meyer or JK Rowling) a past-time that is squeezed in between your work day, and children (if you’ve got them) and horses and all other things. I can’t afford to make it my career, so it is a peripheral thing. So I am pretty much always unsatisfied with the way things are. I’d simply rather be writing than doing anything else.

So, I am squeezing what is in essence, my raison d’être into whatever free time I have, and trying my damndest to find that creative pool inside me where I can tap into it. It’s not easy. Stress, family, work… it taps you out. I drive home on my daily commute; an hour each way, and I try to formulate ideas in my head as I do… what’s the idea? Where is the story going? … Most of the time I end up dwelling on immediate concerns; deadlines, parents, family crises, marital spats… It’s really frustrating.

Many of us less than famous authors are faced with this conundrum every day. Somehow, some of us manage to put together a product to sell… Some are good, some are miserably bad… but it’s a hard thing to juggle; trying to succeed as an author in addition to living a life and working a job like every other schlub. We have to dig into our pockets for editors (at least some of us do) and we have to act as designers and marketers to boot. We have to send query after query and receive rejection after rejection. But fundamentally, it’s important to us to get our work out there; as a sense of accomplishment in the art that we love, as a way to validate that this is what we are meant to do. It’s worth it, even if we aren’t selling millions and being picked up by Hollywood; even if we are barely breaking even, or in some cases, losing money.

Writing is my survival… it is my healing. Writing is my escape as much as reading is. When I think I can’t cope, I write. When I feel like I need to express something I’ve been internalizing, I write. I stay up late, and pay for it dearly the next day; I squeeze in some time on my net-pad during lunch, but I write. Jobs and careers might come and go, but all through it, I’m still writing. It’s what I was meant to do.

Wednesday, October 13, 2010

She finally did it.


It wasn’t quite sympathy, Evan wasn’t sure what it was at all, frankly. But the 'look' both touched him and hurt him all the like. It was an expression, a look that almost every member of the faculty cast upon him at some point during his journey through his scholastic career. The faculty members were always going back and forth; vacillating between empathy and frustration. Evan understood; he really did. At the tender age of nine, he already knew. He was sure they had no idea how well he understood their frustration. The issue was, that he simply didn’t care how they felt about it unless they were willing to reach out and understand him; and as teachers and counselors, that was beyond their scope; outside of their jurisdiction. All they cared about was that he wasn’t really there.

Evan was absent more than he was present; he was despondent and lazy when he was there; he didn’t pay attention most of the time. All day, his mind wandered, the only things that engaged him were projects that involved drawing, creating, writing, painting. The rest, he would simply tune out. Homework was rarely done, if it was, it was messy and slapdash. His notebooks were full of absentminded doodles. He hid in the library and read for hours, and sometimes he would hide in a bathroom stall, lifting his feet during recess so nobody knew he was there. He absorbed his education in his own way… but he never put any stock in proving it by doing what was required of him. He scraped by, grade to grade… barely. They knew he wasn’t stupid; they'd tested him. He was quite the opposite and was in fact extremely bright; significantly ahead of the others. But his intelligence served little benefit when he was completely disengaged.

The sting about the teacher's remarks on his hygiene still lingered. The teacher had told his mother that she should address his hygiene issues. His chronic state of humiliation flared into a hot reddening of his cheeks and casting down of his eyes. He was well-aware of his greasy hair, his stained jeans, the hand-me-down, out of style shirts he wore, his shabby, worn shoes. In case he forgot on any given day, the other students were always very pleased to remind him with underhanded comments, and the teacher always made a point to mention something about it during parent/teacher conferences. She would point out his lacking to a mother who had other, far direr things occupying her mind. And when mom got up and walked to the snack table after spewing out a litany of blame of which none fell on her, the teacher gave him that 'look'. The one that said; I want to care, but I just don’t have the time. You're not my kid... it's not my responsibility... I don’t want to get attached… it would be too hard. All night, he had to hear how embarrassing it was for his mother to endure questions about his failures, and his mother asked him how he could do this to her; how he could embarrass her so.

Evan had no allies. No true allies.

His counselor, Dr. Ardell, would lean close and look him deep into his eyes; “Evan, you can tell me. You can tell me anything. Nobody will get hurt, nobody will know, all you have to do is just tell me what’s going on,” he would say. Evan looked at the man’s pasty skin, the ugly tie, the pink shirt with the coffee stain on the front; his eyes took in the large pores on the man’s face, filled with dark dots; the receding hairline flecked with pieces of shedding skin; he would shrink back from the rancid coffee-breath and wrinkle his nose at it. Never once did he part his lips. Not once did he give Dr. Ardell what he wanted... the truth. He was provided puzzles to solve, questions to gauge his intelligence, evaluations to determine his aptitude. He breezed through them, all too aware what the man wanted... all too keen on the motivations and finding a bit of power, and a bit of delight in depriving him of it. It was his truth the bear, it belonged to him. Adults have proven over and over again to be detached and unreliable no matter what they sometimes said, so he would trust his secrets only to himself. Dr. Ardell would lean back in his chair, the frustration plain on his brow. Evan would traipse back to class, feeling glad that his counseling session had gotten him out of the scrutiny of his classmates. Dread would fill the pit of his stomach when he returned to class. He was always far too behind, far too daunted to catch up. So he would simply shuffle to his desk, sit down, open up a notebook and pretend to listen while he doodled on the side of his page.

Evan must have looked particularly pathetic this day. His teacher gave him that 'look'. The one that wasn’t sympathy or understanding or curiosity, or resignation or indifference; whatever it was, he didn’t care, as long as it wasn’t the accusing, angry glare he usually got when he didn’t hand in his homework, or had no idea there was a test because he’d been absent for two days. He dragged his feet as the class settled in, and he listened to them fuss and muss about in their desks, whispering to one another; the girls giggling, someone snogging in a noseful of mucus… His eyes were on the fluttering leaves of the poplars outside. He was keenly aware of the ticking clock as it arduously crept through each second, dragged itself into the next minute; crawled irrevocably but laboriously towards the end of the day. He yearned for the end of the day for no reason at all. He had nothing to look forward to.

As he walked home, his book bag, which hadn’t been unloaded or refreshed in a few weeks weighed him down. Another day. Another blank, indifferent day—the heavy dread of home was worse than the weight of books on his shoulder; it slowed his stride even more. As Evan rounded the corner of his street, there was something different. On the overgrown lawn was a gleaming police cruiser. Smack in the center of it, lights flashing. A second one was hunkered underneath the messy tree at the curb, already sporting a light coat of the tree's sheddings. He could hear the scratchy sound of the police radios. His stomach turned icy cold. He broke into a run, letting his book bag fall to the ground as he loped across the cracked asphalt, eyes searching. Then he stopped; in the middle of the street, he just stopped.

An officer was taping the house. A van marked ‘county coroner’ pulled in front of him, momentarily blocking his view of the police officers at the door. Another siren sounded a few streets away, and a third police car was arriving with the van. In the doorway, his mother was crying. She clutched her cardigan closed, her eyes puffy and bleary, and her hands shaking. She looked less mousy than usual; she looked almost radiant in her misery--vibrant in the blossoming of her downfall. Evan watched as the officer took her out of the house, and led her to the car. She didn’t see him as the officer helped her into the back seat of the cruiser, but the officer did. The man was huge; a pillar, scary and reassuring all at once. He closed the door to the car, and turned to Evan, coming to him in only a few large strides.

Evan liked how they walked. He imagined they taught cops how to walk that way in police academy; to swagger so that all the gadgets and weaponry and bludgeons on their hips would be brandished as if to challenge anyone to just give them a reason. He could hear his mother sobbing from the car; over the din of the newly arriving police car with its siren blaring. She never looked up--too wrapped up in her own sorrow. The cop seemed like he was a mile tall. He stooped, the process of lowering to Evan’s eye-level seemed to take forever, like it was slow motion.

The look wasn’t like the others. The eyes weren’t the same. It wasn’t the look. No. It was direct and searching, good and steady.

“She finally did it, didn’t she?” Evan asked. “She finally decided enough was enough, huh?” The cop pursed his lips, and nodded; he reached up and patted Evan’s greasy hair. The kid smirked in a weird, distant sort of way and said: “good.”

“C’mon. A lady from human services will want to talk to you then. ‘S’at your book bag?” Evan looked back at the street, where his book bag had been slightly flattened by the tire of the last police car. He ran to pick it up. It felt weightless. As he moved back to the officer’s side, a gurney was being rolled out of the house, an oily looking, black bag shrouding the body. The police lights coloured it red and blue in lightning flashes. He looked up at the police officer, his eyes alive.

“Okay.”

Tuesday, August 3, 2010

How did you start writing?

I can recall the time when I realized I loved to write. Reading was already something I relished, and from a very early age I was an avid bookworm. I used to LOVE the sound of hardbacks and I loved the smell of the paper. I know this sounds weird, but I remember in the first grade, I checked out the Ramona series from the library, and I remember loving how the thick, hard-backed books thumped when I tapped them, and I remember laying the open book over my face and taking deep breaths of that papery scent. Yeah, I know. I was a weird kid.

I was voracious reader too—I gobbled up the Ramona books, and then attacked most of the Beverly Cleary books, then pretty much anything else that sounded nice when I tapped the cover, and then moved onto the Xanth series by Piers Anthony and continued reading those all the way through to middle and high-school. I wasn’t a huge Nancy Drew or Hardy Boys fan—but when lacking anything else to read, I partook grudgingly.
I discovered Jean Auel’s books at a young age (I know… I was perplexed by those questionable scenes, I confess, but I did LOVE the narratives on Ayla’s medicine training, and her collecting and use of natural plants and such). I loved the Neverending Story… and adored how each chapter was in a distinguishing colour based on if you were in the present or in the fantasy world, and the first chapter starts with a word starting in A, and then each subsequent chapter follows the alphabet. I was dismayed to discover that the movie only depicts half the book!

I read books that were required reading for older kids & such; Where the Red Fern Grows; To Kill a Mockingbird, JRR Tolkein of course, The Strange Case of Dr Jekyll and Mr Hyde; Of Mice and Men, The Handmaid’s Tale, 1984 and Animal Farm, Wuthering Heights, Watership Down, Pretty much everything Brontë and all things Austen, Moby Dick and whatever else I could get my paws on. I remember a couple of times in middle school, skipping classes and hiding out in the back corner of the library, reading entire books in one day.

I started writing stories in earnest in the fifth grade. Before that it was mostly scribblings and poems and such. What prompted the storyteller in me for sure was my fifth grade teacher, Ms. Wendy Pamay. I think pretty every one of us can say that there was that *one* teacher or professor who had a profound effect on you during your formative years… Wendy Pamay and Mr. Paul Francis were my inspiration when I was young. I wasn’t necessarily a great student; I had a rough childhood and it reflected on my participation and attendance pretty badly. Ms. Pamay was the one who taught me that writing could be that escape, that place where I could express myself without reserve. She was a wonderful teacher… I credit her with so many of my present day skills and interests. She treasured creativity and reading—and found really amazing ways to teach us things—she was genius. That is why she is part of the dedication of my first published book.


It took a long time for me to develop my voice. Much through my teens and early twenties, what I wrote was very much influenced by what I was reading. I finished my first book at 23; and it was horrible. I was horrified to discover a television show that appeared after completing that book that depicted a character almost identical to mine, so I scrapped the project. I wrote another science-fiction book that was also equally as terrible. But every word, every paragraph helped me develop my style and find who I was as an author. I think I also took a while to figure out how to put myself in my writing instead of just writing to tell a story or emulate a style I liked at the time. It made my characters more authentic and likeable, I think.

I write when it comes to me. I have, no joke, at least 200 false-start stories, some only a couple of paragraphs, some as many as seventy or eighty pages; all of which skidded to a creative halt somewhere along the line. Finishing a book is hard, and a rare event for me. I’m not disciplined enough to make myself write or to create outlines, I’m afraid. I prefer organic processes; it makes stories less predictable.

Tinna’s Promise is a strange book… I know it is. But what I do know is that it is reviewing wonderfully… and that I have a viable voice as a writer. It took years to develop it, but it’s there. I’m hoping Tinna’s Might will have that same draw that keeps the reader engaged as the first book has. We’re still editing. I’ve had to do A LOT of moving stuff around and revisions; I tried too hard to fill readers in on the background from the first book; it’s a lot of work. I’m hoping to have it polished and tied up by end of year, but I’m not sure… we shall see!

Friday, June 18, 2010

Editing pains...

It’s Friday and it’s an amazing sunny day out there… the first really nice day in a while over here in Portland. We are used to rain here, but sometimes when it lingers into June, we are puzzled by it. I am all for mild summers and lots of rain, I confess. I hate heat. I’m part mole, so I prefer to be in the cloud-filtered light and gloom, pale-skinned and squinting in the sun (when I do bother to venture into it and risk scorching myself red). Aaaaaaanyway, let me get to why I really decided to post a blurb today.

[whining] I got totally slammed by one of the editors doing test-edits of my first chapter yesterday. It was like he threw a first-edition of War and Peace at my head. I warned him! I told him the first chapter was ‘information heavy’ when I sent it to him. Of course it is… Here I am starting a story set twenty years after the prior one, and also assuming that not every reader is going to know what the heck is going on, having not read the first book… so I did a little bit of overcompensation in the first ten pages of Tinna’s Might. Shame on me!

That scares me, because I know how I am as a reader, and if the first few pages are hard to get through, I rarely ever keep plugging along until the author finds their stride. I’ll groan in annoyance and huck the book onto my dresser and then forget about it until library donation day. Part of the reason why I stopped doing reviews for my friend is because MANY, MANY, MANY of those independently published books were not written in a way to draw the reader in, making it impossible to get past the first chapter. I’d read one or two pages, and already be miserable. I’d give it a few more pages, and find my eyes and brain distracted by my dogs, by a steller’s jay outside, by someone driving past the house, by a random shiny thing… anything BUT the story that’s on the page. I would rather jam a fork into my eye than to produce a book like that…

So yes! I know, I know… I’m aware of this problem and I haven’t fixed it! Truth be told, I am having trouble figuring out how to break up this huge wad of background information and to sprinkle it around more evenly over a broader area… I’m not confident about how long a reader will want to wait to learn why certain things are the way they are. I need to back off my text for a few weeks, and then re-approach it with fresher eyes, and try to look at it like a reader again instead of being the storyteller.

The editor in essence chucked a sharp-cornered book at my head, frankly. It hurt but I needed it. I knew it was there, I warned him it was there, but why didn’t I just take care of it when I did my last revision? Because it’s DAUNTING. [/whining]

Blargh.

Anyway… onward we push, I suppose. Have a delightful weekend.

Friday, April 9, 2010

Book two is finished!

Okay, it's not COMPLETELY finished... it needs about 20,000 more words to pad it out a bit. I managed to give it a beginning, a middle and an end. It's a complete story... with a plot and everything... at least I hope. :^D I have to go back and fill in some of the skeletal parts and bridge some of the gaps, but that's the easy bit. It's really exciting to know I don't have that much more to do on it. Then it's off to the editor!

New covers, new book... very cool! Keep an eye out for "Tinna's Might"... it won't be long, I hope before it's available for purchase. :^)

MM

Monday, March 22, 2010

Organics.

I’ve hear a lot of questions about starting a book off with character who isn’t immediately likeable. I guess I don’t always follow convention… I just write organically… and for some reason it seemed natural for me to start Tinna’s Promise with Taneth and his smug rants that get him booted from Hildercross Academy. It just felt right I guess.

I hear the following things about Taneth as most readers start the book: He’s a geek… he’s too smug; he’s annoying… I tell them to read on. Then they do, and they stop grumbling at me. Making Taneth kind of a superior, pompous jerk at the beginning of Tinna’s Promise was the whole point. I wanted to exhibit a person’s capacity for change and growth. I broadened his views, opened his mind and humbled him. I think both Taneth and Tinna show great evidence of change. Each experience that occurs during the book opens their eyes; brings out the parts of them that are noble and likeable. In the end, I can’t help but root for my characters, and find understanding for them, despite their flaws.

In a way, Tinna’s Might starts with a less-than-loveable character. However, the question is, will he ever become someone better? It’s hard to know. Heck, I’m not even sure yet.

For those of you who have read Tinna’s Promise, Tinna’s Might is going to be a pretty astonishing jump. We’re about twenty years from Tinna’s Promise; and the world is so very different. There are new characters you will meet, familiar ones you already know, and a world in turmoil. I’m having fun finishing up this book—and am already thinking about where to go from here. But, I have focus on getting this book polished up and ready for publication. Padding, scanning, pre-editing, and then off to a real editor to start the arduous process of putting my ‘organic’ work in order, and chasing down all my little grammatical issues. ::eep::

I’m working on it. 