Come Over to the Dark Side...We've Got Cookies!*

Everyone has a dark side; without it we wouldn't be human. No one is good all the time and our characters shouldn't be either.

Old-time melodramas were written with the purer than pure heroine, the wickeder than wicked villain and the braver than brave hero. Audiences loved them because they knew from the beginning that all would end well. It was good fun for Ma and Pa Pioneer and their gaggle of children to attend a performance with such easily defined characters and afforded a relaxing break from the harsh rigors of pioneer life. But ultimately, wouldn't it have been a little boring?

I love books (or plays or movies) that portray people as far more complicated creatures. The sweetest girl in the world is capable of being jealous. The most loathsome villain might spoil his cat. All of us experience a range of emotions.

When I write I try to keep in mind that every character has a flaw. Maybe it's vanity, or a tendency to over-indulge at the table; it might be a too-active imagination; it could be as potentially disastrous as jealousy, voracious ambition or money-lust. A pretty face does not necesarily mean a pretty personality any more than an ugly face denotes a villain.

Every story must have an ending but I enjoy writing (and reading) endings that are logical, but surprising. I love to sympathize with all the characters, not just the ones on the side of the angels. The dark side of characters is the home to all their complexities and their closely-held secrets. It's the hidden center of the chocolate and worthy of exploration.

I love my characters all the more because they are flawed. Bless them, they can't help being the way they are, they're only human! How about you? Do you write characters with a few bumps?

*Thanks to my daughter, Patricia, for the title. This is a favorite saying among her friends at school.

Written into a Corner

In a book I read long ago a character told an interesting tale about writing cliffhangers. Back in the day when movie palaces were common, it was the usual practice for several short pieces to be shown before the featured attraction. One was the serial that recounted the fearless adventures of a hero as he fought various bad guys and got himself time after time into life-threatening situations. One in particular had the writers stumped. It appeared that the last time we saw our hero he was down a well. There was absolutely no way out. None. Team after team of writers tried to resolve the dilemma with various methods but given the situation none worked. Heads were scratched, tempers flared; after all, the audience was waiting for the next installment. What to do? It was resolved by a genius writer who simply said "We start the next episode with the words "Once out of the well..." written on the screen. Crisis averted.

I concede that this type of problem is more likely to arise in television scripts with their now-mandatory season-ending cliffhangers, but it can happen in books as well. What happens when you've written yourself into a corner? It could be that your protagonist has information that he/she couldn't logically have; it could be some character in a non-escapable situation or showing up somewhere utterly strange; something that has to occur for the sake of your plot but upon rereading you realize "This makes no sense at all. Now what?"

I find this type of problem usually manifests when I'm so busy moving ahead that my fingers are typing faster than my brain. I'm so consumed with 'and then this and then this and then this' that the logic gets lost and then I find myself with an issue; a nice plot with some major holes. Rewriting is obviously in order, but how much? Finding where you went off the tracks can be difficult because you know how the story goes. I've employed two methods. First I try to go back and fix it myself. When this doesn't work I give the manuscript to someone else and ask them to kindly show me where the problem begins.

Have you ever found that you've written yourself into a corner? How did you get out of the well?

Timelines

Most of us do not live lives crowded with incident. The majority of our days are filled with the same events, most weeks pass by fairly innocuously. But mysteries are altogether another kettle of fish with a great deal occurring in usually a very short length of time. How do we handle this? Do we call attention to the ticking clock or do we let the passage of time slide quietly by?

Dan Brown (and many others) have enjoyed large successes employing the ticking clock technique. The result of which is these books having tremendous pace as the reader is being continously reminded at beginning of each chapter that time is running out. In my opinion this technique is really only effective when the plot unfolds and resolves with a very short period of time.

There are also the mysteries where time passes much less obtrusively. The plot takes place over several weeks or even months. Time isn't what is the focus of the plot, but rather the unraveling of the mystery. These mysteries need many plot lines and complex characters to keep the reader eagerly turning the page.

My current manuscript happens over 4 days but there isn't a ticking clock. I have found that a short time period helps to keep the plot organized in my own brain, but I don't think the reader will be aware of it. My focus is on the characters and the untwisting of all their motivations and secrets rather than the all-encompassing idea that time is running out.

What role does time play in your writing? Is it vital or do you pay it little attention?

In the Zone

It happened yesterday afternoon. The zone. I was slogging my way through my wip and suddenly I was away! I couldn't type fast enough. It was wonderful. It was also less than an hour till dinner.

Curses.

Being in the zone is a rare occurrence for me. Usually I plod away and content myself with a nicely phrased sentence or a witty (in my opinion) piece of dialogue. My output is fairly steady but I'm not an express train. I can't sit down at my laptop and effortlessly pour out 30,000 words. I wish that I could! I pay little attention to word counts while I'm writing. I'll check it from time to time as I reach certain points in the plot but I don't become obsessive. I don't see much point in seeing numbers that coldly inform me I haven't written very much.

Yesterday's writing showed no hints a deluge was about to hit. I pecked away as I moved through my plot at my usual tortoise-like pace. Then boom! The zone reminds me why I like to write. Phrases come neatly to mind, the dialogue sparkles and characters show new facets of their personalities. There should be a rule that if a writer is in the zone someone else takes care of life's minutiae so they can continue to write. Unfortunately my fortune (although ordered) has yet to show up on my doorstep, so I am not surrounded by a large helpful staff. Making dinner is my responsibility and I have noticed that children tend to get cranky if not fed! Reality was I had to stop writing and go make dinner, knowing full well that the zone would not reappear whenever I got back to the laptop.

However, I had visited the magical kingdom which means that it's out there waiting for me again. Maybe it will visit again today. Maybe not. The memory of it is enough to get me back to my manuscript.

How do you deal with the situation of real life interfering with your writing?

The Dichotomy of Deadlines

"There are those who make their own deadlines and those who have deadlines thrust upon them".

Elspeth Antonelli

I happily admit that I have two distinct sides to my personality. There is the side that is creative and the side that is business. The creative side is the one responsible for decorating the house, baking, and (in the past) acted, directed and designed costumes; now it writes. The business side is the one responsible for setting budgets and sticking to them, knowing when the car insurance needs to be renewed and making sure enough money is set aside for that 'rainy day'. In the past it ran a theatre company. I'm sure most people have these qualities. The business side recognizes the seriousness of deadlines; the creative side does the actual writing. However, there are two different types deadlines and that's where my trouble starts.

Imposed Deadlines

These have been around since school when a teacher said "The homework is due Friday." Everyone learned how to deal with it; some did it that night, some did it over a number of days, some did it Friday morning. Regardless of methodology, the homework was handed in. Now we deal with deadlines imposed by publishers, contests, etc. There is a date carved in stone and (with publishers) a signed contract. I've never had a problem meeting these, usually with room to spare (as I knock wood). I acknowledge a great amount of almost-last-second flurry and the inevitable panic when my brain decides to freeze; but the project always gets done and submitted.

Self-Imposed Deadlines

I concede to the world that these are my Waterloo. I can set them but it's rare that I meet them. I think it's because I know the world isn't going to cave in if I don't. The only person who knows I didn't meet my deadline is me. I admit a certain amount of self-loathing ensues, but I can move on. I know there are writers out there who set themselves deadlines or writing goals and meet them with ease. They write 2,000 words a day, or five chapters a week. They finish their first draft in a timely and effective manner. My envy has no bounds.

How do you deal with these deadlines? Are both types met with self-discipline and fortitude? If so, how on earth do you do it? Please share your magic formula!

Uh-Oh

I spent many years backstage as a part of different theatre companies. I've been backstage as an actor, a stage manager and even as a director. You learn many things from being backstage. You learn that everything is not what it looks. You learn to avoid certain people when they're doing their odd pre-show rituals. You become accustomed to hearing (shall I say) colorful metaphors. You learn very quickly that hearing "uh-oh" is the worst thing to hear. It means disaster. Someone dropping something heavy on their foot earns a colorful metaphor. Someone dropping dead earns an uh-oh.

I have learned over recent years that writing comes with its own set of disasters. There are the typos. The blatant mis-spellings. The overuse of the same words. Poor sentence construction. The list continues. All of these are mild errors in my opinion and easily fixed; much like rushing back to the dressing room because you realized that you forgot to put on your shoes. (trust me, it happens)

Then there are the bigger mistakes; the undefined character or (even worse) the lazily defined character. Messy dialogue. Too much description or way too little. These mistakes will take longer to fix but are still within the realm of repair.

But what about the dreaded uh-ohs? I had it happen to me a few years ago and it was not a pretty sight. Here followeth my confession. I realized that my solution to the mystery made no sense at all. None. I had been so enraptured with all my other lovely characters and all my lovely red herrings that the result was I had given scant attention to the guilty party or his actions because I knew he was the one. Uh-oh. I felt as if I (once again) was the winner of the "Dumber Than a Stick" award. This uh-oh took weeks to fix as major re-writing was in order as many, many choruses of "How Stupid Are You Really?" ran through my head.

It did get fixed.

How do you handle your writing disasters? With careful thought? With humor? With liquor?

Clutter

For a while they were everywhere on TV; those programs showing you how to de-clutter your life. They were full of helpful hints on letting go and moving on and organizational solutions for the stuff deemed worthy enough to stick around. Clutter - friend or foe?

After being brought up to believe that I was the world's messiest beast, I discovered a while ago that I'm actually quite neat. I like clean surfaces. I like everything to have a place. However, stuff accumulates at a frightening pace. When we first moved into this house many, many years ago we actually had to buy furniture in order to fill some of the rooms. Trust me, this is not the case now. I can go through the house and think "Where did this all come from? How did we end up with this much stuff?" Cleaning out feels good. Things that were vital 10 years ago simply aren't anymore - the children are older, the hobby has been left behind, and what is that thing sitting in the corner?

Writing can have clutter as well, although people are divided on defining it! It could be too many flowery phrases or descriptions of settings that go on for pages or a hair by hair description of a hairstyle or colour. I am certainly guilty of cluttery writing, but I do try to go through it and clean it up. It's hard. Just like getting rid of that ugly chair you've had for forever (but have fond memories of ), you remember how long it took you to write that particular paragraph or chapter. Then there's that phrase that you're so proud of, but in the cold light of editing realize that it doesn't do anything. It doesn't add to the plot or characters. It's just a nice phrase. I toss it.

My litmus test in editing is honestly answering the question:

"Does this sentence/paragraph/section add to the story? Would the story be the worse if it were gone?"

The answer decides its fate. I'm not advocating writing a book that's as sterile as an operating room, but cluttery writing gets in the way of your story. Filling in the details is wonderful and absolutely necessary. Overfilling leads to clutter.

What's your opinion? Is this a worry for you? Or are you able to write cleanly?

And Miles to Go Before I Sleep

It is the plaintive cry heard since the dawn of time: "Are we there yet?" I feel sure that Caveman Mom and Caveman Dad heard it from Caveman Child when they traveled to visit Aunt Maude who lived in the next valley. Tiny toga-clad Romans would have said it from the back of horses or chariots. It's been heard in carriages, stagecoaches and covered wagons. Today (if we're lucky) the children are being distracted by handheld computer games or portable DVD players...but you know they're thinking it.

Writers think it too. But, what is 'there' to a writer? What is the hoped-for, yearned-for destination? It could be:

• Fame and fortune. Your writing is a huge success. Publishers are falling over themselves as they plead for the honour publishing your newest masterpiece. Or it could be...
• Royalty cheques. The villa in Italy still hasn't materialized, but you do receive those wonderful royalty cheques every quarter. Of course, if you add up all the time it took to write the manuscript, edit it, etc. you make the sad discovery that the average goatherd in Nepal has a higher per hour income. Oh well. Or is it...
• Manuscript completion. It's done and edited. You may feel like throwing it against a wall, but it's done. But before that comes...
• First draft completion. In my opinion, this is the largest milestone. Who knows how long it took, but it's done. Editing is small cheese after this monster. Or do you celebrate...
• Turning on the computer, or pulling out a fresh piece of paper. Let's be honest, there are some days when this is a huge achievement. You may not have written, but you thought about it. Thinking is good.

What is your 'there'? We all travel on different highways but the roads are remarkably similar. May you reach your 'there'. Happy traveling.

True Reflections

Characters; they're tricky beasts. What does he/she look like? What's his/her name? What kind of clothes are preferred? Easy to get along with or a bit ornery? Fussy eater? Overeater? The list of questions goes on and on and on.....

My characters are completely fictional. Not one of them is based on anyone I've known or know now. I stay resolutely away from familiar names simply because, for me, those names come with too much baggage attached. I will not slap famous faces on my characters for the same reason.

As I work out my plot by stalking around my house and muttering darkly, (trust me it's a scary sight) characters just start popping up and I give them temporary names like "eats too much boy", "snoopy girl" "loyal but annoying wife" and "falls down a lot boy". Each name reminds me how that particular character serves the plot or is my comic relief (always popular with me) and slowly but surely everything starts to jell. Plot first, characters second.

If I've enjoyed a book I will usually play one of my favorite games called "Who Do You Cast?" which is casting famous actors as the characters. I was asked once if I could play the game with my manuscript and I recoiled at the thought.

I'm fascinated that many authors base characters on real people. I do not have this talent. For me it's all pretend!

Fog

This was the first morning of fogs which happen frequently in my part of British Columbia. The morning news had shots like the one I've got here and many of their traffic cameras showed nothing but grey. When I was driving my children to school this morning the only clue I had about other vehicles was the gleam of approaching headlights. Traffic lights were obscured. Fog was swirling around the high school transforming the landscape into the perfect setting for an old-fashioned ghost story.

Writers know about fogs as we all experience them from time to time. Where am I going? Who is here with me? Am I really the only person in the world?

Here are my ways of coping with the fog:

1. Look for the streetlights as they will always guide you home. A good outline will get you to the ending every time. Guaranteed. It might only be the end of a chapter, but even a small victory is a victory.
2. Pedestrians appear out of nowhere. Who is this character who has just shown up and insists upon speaking? Trust that they appeared for a purpose. It might only be to convey one piece of information and then they disappear again, but listen first. They may force you to look more closely at a plot point that you might have just driven through.
3. Be aware of other vehicles. You're not the only person traveling this road. We may be alone in our own cars (or houses) but we all know the road. Take comfort that there are others out there. It certainly helps me.
4. Don't rush. In my opinion, this applies to the entire writing process. Take the time to make an outline. Get to know your main and supporting characters. Attack that fearsome first draft with courage, but know that you have time to go back and change things. Slow and steady always wins the race.

Fogs always disappear. Bright autumn sunshine is now covering the roads and I can look up to a clear blue sky. May your writing be fog-free, or if you're experiencing a small weather disturbance be confidant that the road is still there if you look hard enough.

Titles

"What's the title?" is the one of the first things a writer is asked after they've answered (or tried to, or avoided answering) "What's it about?". Titles are a book's introduction to the public. Tricky beasts.

Some authors have their titles from the beginning. Some have it jump out of them from their manuscript. Others have it thrust upon them by editors. I've never had the latter experience but the first two have happened. My games are titled from the beginning - simply because key words in the title help it to sell. "Death" is huge, as is "Murder". Clever titles do not sell murder mystery games. Clever titles can sell books, however. People wonder "What does that mean?" and pick up the book to look at the inside cover and you're half way home.

Titles can't be copyrighted, which is odd. Who is going to write "The Great Gatsby" (the story of a giant dog named Gatsby)? Imagine an author submitting a new manuscript to their editor entitled "Gone With The Wind" (story of a meteorologist) , or a screenwriter submitting "The Sound of Music" (about an orchestra). These are not likely scenarios. On the other hand "My New Book" is not apt to fly off the shelves either.

My book titles come from Shakespeare. Spy My Shadow is from "Richard III" and I like it because both the title and its source make sense on many, many levels. Keep the Key is from "Hamlet" and is one of the few things I know about that book, other than the presence of my detective and the setting. Keep the Key came early whereas Spy My Shadow came about half way through the writing process. I find the process very similar to the exercise of naming characters; when I get the right one I can almost hear a 'ding' in my head.

When do your titles present themselves? Is it an easy process or a difficult one? Do you use working titles ("This D#&@ed Thing") until you hit upon the correct one? Or do you just not care and leave the title selection up to someone else?

A Real Job

It is an attitude that I run up against all the time - I don't go to an office every day therefore I must not have a job. There is a real belief out there that if you're a woman and you work from home you either:

a) Secretly spend your day lazing about, eating candy and watching daytime television. Or

b) You're a throw-back to a different generation and spend your day waxing the kitchen floor and vacuuming while wearing your big skirted dress, heels and pearls.

I've tried to explain that writing takes time. I've admitted I can't write a 500 page book in an afternoon. Some writers may be that gifted, but I am not among that lucky few. I've tried to get people to understand that just because I'm at home it doesn't mean that I'm not busy and therefore I'm not available to do every volunteer job that comes along. The typical response is: "Oh, I thought you were home during the day! Do you work now?" Grrrr.

I'm sure anyone who works from home has had this experience, regardless of profession. However a computer programmer or accountant seem to be far more acceptable lines of work. People understand what those jobs entail. There was training involved. A writer? Really? I mean you just sit down and write, right? A monkey could do it.

It has been my experience that any career in the arts gets little respect unless you're rich, famous and successful. After all, how hard can it be to be an actor, an artist, a musician, a writer, etc.? My reply to these people is "Try it and see."

Love 'em, Hate 'em, Gotta Kill 'em!

When you write mysteries, you write about murder. It's tricky to have a murder mystery without one. So kill you do. Sometimes you kill only one, sometimes more. Sometimes the method makes it a 'clean' murder (i.e. poison) sometimes it's grisly, and honestly (in some of mine) it's funny. But the unescapable fact is that as a murder mystery writer you transform into a fictional serial killer.

The problem can be: You created these victims. I've written many victims that were so nasty, so filled with evil that anyone's only question would be "Why weren't they bumped off years ago?" On the other hand, there are the hapless ones who are simply in the wrong place at the wrong time. And then there are the characters you love and how on earth could you kill them? But you have to...

"Stranger Than Fiction" is a wonderful movie about a writer

(pause for a moment of tribute to the amazing Emma Thompson)

trying to find a way to kill off her main character only to discover that she's writing about a real person and if she kills off her character the real 'Harold Crick' will die as well. Major dilemma. Major nightmare for a mystery writer. The first time I saw this movie I was horrified by the idea. How many deaths am I responsible for? How many deaths have made me money? Chilling thoughts...

Past victims ran through my head. My eyes widened as I started counting up the numbers and the even more un-nerving thought was 'I knew I wasn't remembering all of them'; so not only was I a serial killer, but one that couldn't even be bothered to remember the names of my prey.

I commend the screenwriter (Zach Helm) for a brilliant premise, but I really don't need these thoughts running through my brain. I have enough issues when I am forced to kill a character I like; so many issues that I put off writing that particular bit until the last possible moment...and then I cry as I write it. (This is sad but true).

How do you handle situations like this? Do you mind putting your characters in terrible situations or can you handle it from a safe and sane distance? Or do you discover, like Harold Crick, that love and warm cookies make any situation seem better?

Different Flavors

I read many many different genres of books, but I only write in one.

I love to read biographies, autobiographies, histories, humor, thrillers...the list goes on and on. For the past three years I have had a fascination with the first years of WWII - which has lead to the creation of my books. I started reading about English history (mainly the Tudors) back when I was in Grade 5. Cathedral architecture is another of my subjects - and I have spent many many hours in England's magnificent structures. You can feel the history seeping out of the stones.

But I don't write histories. Or chick lit. I write mysteries. These are the plots that come easiest to me and this has been the case for years. They come so easily that I never paid much attention to being able to do it. I wrote many 'murder nights' for various theatre companies and never gave it a second thought. After all, it was easy. It was only about 5 years ago that someone came up to me and said "You could make money doing this. Not everyone can write these things", which led to my murder mystery games (which now number 12 games and 2 scripts).

I'd like to try my hand at other genres. I've written two plays and I'd like to write more as I found the freedom of only having to write dialogue rather a relief. I can write fairly decent comedy - and comedic moments have found their way into everything I've written so far.

But I'll stick to mysteries for now - both the games and the WWII era books. Why do we gravitate to one genre? Is it our own personal history? Is it personal likes/dislikes? Or are there talented people who can write in many genres and leap nimbly between them?

It's a mystery to me....

Crowds of Characters

How many is too many? Not children or pets; characters. Main characters. When does a reader just get fed up and put the book down because there are just too many people to keep track of? By the way, I hate those "Lists of Characters" that are at the beginning of some books. To me that's a huge indication that I'm going to have to keep flipping back to it as I try to keep everyone straight.

How many main characters is a constant dilemma for me since my book(s) have multiple plots and motives. Multiple plots breed multiple characters. I've tried to categorize them into 'serious contenders' (for being the murderer) 'possible contenders' or 'only if it was really weird' contenders. But still....

Keeping these characters and their motives separate and distinct isn't a problem for me, since I've been living with these guys forever. But what about my poor reader? And then there are the secondary characters and the characters mentioned but never seen. I've been counting characters in other mysteries and some have more and some have less. No help there. My dilemma is I can't get rid of any of them - the plots are too interwoven and I'm writing the book from the POV of six of them and these six interact with everyone else. My detective is one of the six and the first character we are introduced to (this is the Venetian who can't paint that I've mentioned before). I didn't plan to write it this way, it just happened. These six voices can tell the story. I can't make it five. Or am I supposed to? I certainly cannot make it one. But that's a completely different discussion...

Do you have a magic formula for figuring out how many main characters you need? Is there a magic number? Or does it just depend on your plot? (which is my way of thinking).

What's Happening?

Something happens to me around this time every year. I become determined to turn over a new leaf and get busy and morph into a person I don't even recognize.

I bustle around cleaning and vacuuming. I start thinking seriously about pulling out the fridge and cleaning behind it. I want shiny floors and gleaming tables. Fresh floral centerpieces are contemplated. I go and dig the weeds in my garden and make ambitious plans for new pathways and patios. I want to make warm nutritious meals for my family and bake pies and cakes. I think about sewing and that a major repaint of the upstairs hallway is an ideal project. In short, I am nauseating.

This determination extends to my writing. I will get those two new games up and running. I will finish fiddling with my short story and actually print it out and submit the sucker for publication. I set lofty goals for completing my novel within a month.

I know that after a few days I will return to my slovenly ways and the gleam on my tables and the shine on my floors will fade. I will think that ironing sheets is an insane waste of time and not worry if my linen cupboard isn't Martha Stewart-worthy. The writing goals will stay in place. Writing is like laundry - there's always something new in the basket.

Once More Unto the Breach

After the whining of yesterday's post I have resolved to shoulder my quiver of arrows and head boldly back into the fray. I thank all of you for your messages of encouragement, it truly meant a great deal and your kind suggestions shall be heeded!

I have found the trickiest part of being a writer is to put your head down and just keep going. There needs to be a confidence that what you're writing isn't complete garbage, or if it is, that the nugget of inspiration that started it is a good thing. Looking back can be frightening - I still remember the horror I felt when I discovered an old short story that I had written in Grade 11. I was so proud of it when I wrote it, but rereading it now was a big mistake.

It all comes down to self-confidence and knowing deep down that the story you're telling is worth telling. It's not enough for you to love your characters, you have to be able to write them in such a way that others will love them too. The continuing character in my books is a detective who lived in Venice for many years. He left because Mussolini built a road onto the main island. I grew up on an island and I know island mentality - bridges are evil. He also considers himself a wonderful artist and the reality is that his paintings are truly awful. I love him. I love his quirks and his wit. I love that he can't paint. He is loyal to his friends and his history has given him an understanding of human nature. I keep writing his books because I love writing him and the day I finish the third will be sad because that will be our good-bye.

How do you keep heading 'once more unto the breach'? Is there a trick I haven't figured out? Or is it a matter of simply ploughing through?

Labouring on Labour Day

Welcome to the last long weekend of the summer, a day traditionally spent at picnics, fairs or some other sunny outdoor activity filled with bustle of crowds, the smell of popcorn and the joyous laughter of tots.

I am spending a greater part of the day hunched over my laptop editing and rewriting my most recent short story and let's just say this...it's not going well. I'm now at the point of thinking 'why did you think you could write?' and dragging up every self-doubt that's ever crossed my mind in the middle of the night.

Why is it that writers (or me at any rate) are so quick to criticize themselves but so slow to praise? If I'm pleased with my efforts - if I've written something I find funny or I like a particular phrase - I quickly say to myself 'Okay fine... move on'. But I will linger over criticism like it's a fine chocolate souffle. It always appears to me that once I fix one aspect five others cry for my attention. Can't the characters be more colourful? Are they too colourful? Are they much of a muchness? Does the plot move too quickly? Too slowly? Or is it just so unspeakably dull that no one would ever get past page two?

You see my dilemma...

What floors me is that I put myself into this position on purpose. No one put a gun to my head and said 'Be A Writer'. I must need my head examined.

Leaving Breadcrumbs

Everyone needs to make a path through the woods so that they can come out the other side; I know my Hansel and Gretel. Hansel's breadcrumbs weren't the best idea of course, but his thinking was sound. How do writers keep themselves on track...on their particular path through the woods? Here are my breadcrumbs.

Breadcrumb #1: Know your ending.

It's impossible (for me, anyway) to start moving if I don't know where I'm going to end up. I know the ending of my books before I know the beginnings.

Breadcrumb #2: Know who is with you on the journey.

Know your characters, or at least know your main characters. Others may join you for a while, but they have to leave before the end of the journey. If they insist on staying (maybe they have a fail-proof method for getting everyone out of the forest) then they may deserve to stay and someone else may have to leave. Be brutal. There's only so many breadcrumbs.

Breadcrumb #3: Ignore the side paths.

I realize this is easier said than done, but side paths aren't shortcuts, they're just interesting diversions that keep you away from the main path and end up nowhere.

Breadcrumb #4: Make sure you don't throw down the same breadcrumb every time.

This is my way of saying don't forget red herrings or sub-plots.

Breadcrumb #5: Ignore the witch's house.

The witch's house is the greatest problem of all and for this metaphor it's whatever is calling your attention away from the path. It could be self-doubt. It could be fear of an approaching deadline. Just keep going along the path and soon you'll leave the witch's house far behind and reach the other side of the forest. That is the time for candy.

How do you make it through the woods? What are your breadcrumbs?

Onions and Mushrooms

I have learned the lesson. I know to never think that just because I invented them that my characters won't catch me off guard. I have mentioned before that I outline every project (be it book, short story or game) and that I write bios for my important players (and that can be quite a few bios). My rationale is I want to know everything I can before I plunge into the pool and I still get shocked by my characters' behaviour. (No, I don't mean that kind of behaviour - this blog is family-rated. Geesh.)

Characters that I thought would be easy to write often times aren't which leads to me having to figure out why. Does she/he have the wrong name? (this is the issue many times) Am I using the wrong vocabulary or writing in the wrong rhythm? Is she/he too similar to someone else and that's why I'm having trouble? (this can lead to lots of fun as if this is the problem I'm back at the drawing board).

Then there are the characters that are easy to write and they practically jump off the page. I smile as I write and it's wonderful. But then come...

The Mushrooms

These are characters that seem to pop out of nowhere and insist on staying. They're not major characters but they're not minor. They seem to have things to say that I can't assign to anyone else. Handy little creatures but always a surprise. If I'm very lucky I may also find...

The Onions

These are secondary characters who are so multi-layered that any of them could carry huge portions of the plot. Each time I discover an onion I am relieved as it's usually a sign that my secondary plots are realistic enough to support strong characters.

Every project is a journey with a known destination but these traveling companions can make what can sometimes be an arduous trek into a more gratifying experience.

Conquering the Dragon

The words that strike terror into many writers' hearts are "Have you finished that first draft yet?". Each of us have spent hours, days, months or years (yipes!) slowly vanquishing the beast and everyone seems to have their own line of attack.

Here's what has worked for me.

1. A detailed outline containing the order of events from the beginning to the end.

2. Written biographies of each of the major characters. My purpose here is two-fold - writing the biographies help me understand their motives and this knowledge will in all likelihood change the running order (see #1).

3. Research into special knowledge. I write historical mysteries so research is always involved. The challenge for me (being a history-lover) is to keep the research as a means to an end, not an end in and of itself.

4. Start at the beginning, go to the end and then stop. (with apologies to Lewis Carroll).

The last is the best advice that I was ever given. I have a tendency to polish and then re-polish before moving forward and this stops (or at least lessens) that tendency. It gives me a first draft. First drafts won't be perfect - that's why they're called 'first'.

What works for you? How do you defeat the monster?

September

This is my favourite month of the year. The weather is still warm, but not hot. Early morning air teases you with that first hint that cooler times are coming. The sky can be that magnificent shade of blue that you never see in the spring or the fall - and kids head back to school.

The resumption of routines is a relief. I know how to do schooldays as I've done them for more years than I care to admit. Relief is also having the house to myself again - well, me and the cats. However cats don't come up to you informing you that they're bored or ask to be driven to a friend's house. My cats spend the day sleeping in strange places and opening one eye accusingly if I make too much of a noise. On second thought though, having talking cats could be the key to my dream house.

I always experience a fresh burst of energy at this time of year and new resolutions fill my head. I will get more organised. I will set new goals. I walk a little faster and dream a little bigger. I face the computer with a new sense of purpose and determination.

Enjoy autumn (or spring) where ever you are in the world. Take time to follow a leaf's path as it wafts its way downwards or examine a new bud closely. The year has turned another corner. Welcome to what lies ahead.

Delete, delete, delete

Today I sing the praises of the humble delete key, that small but mighty key that has saved my sanity many times over.

I admit that I am a harsh judge of my own writing since you don't have to worry about hurting your own feelings. Everything is possible; from the harshest criticism (this entire section makes no sense - what were you smoking when you wrote this?) to bewildered amazement (holy crap, did I write this?) The wonder is thanks to that lovely key, all is fixable and no other eyes need see my horrible mistakes.

On a politically correct note, the delete key is good for the environment as I shudder to think of how many trees would have died meaningless deaths if editing or proofreading could only be done by holding a hard copy.

Perhaps we should call it not the 'delete key' but the 'try again' key. This works whether it's pertaining to huge chunks of a manuscript or a simple typo. 'Try again' reminds us that we have another chance and everyone wants that. I certainly do. One isn't allowed a 'delete, delete delete' in life, but thank the writing gods, we are all allowed a 'try again' in our work.

The Blank Page

Is there anything worse than sitting in front of a blank white screen or a fresh piece of paper? It stares back at you, mockingly. 'You don't know how to begin, do you?' the little voice taunts. 'You used to be able to write, but now that's gone. You'll never write anything again. It's done.'

Maybe not every writer is cursed with this affliction, but I suffer from it every time I start a new project - be it a new game, a short story or a novel. I've already got the main points of the plot in my head and I know who all the major characters are - but the agony of actually starting to write, not to mention the torture of getting that first sentence acceptable!

I have appreciated the irony that when I wrote my last essay in University I thought "Well, that's done. " I wish I could time-travel back and say to my younger self "You won't believe what you're going to be doing decades from now. Different type of writing - but still deadlines and expectations await you!"

Of course without the agony of the blank page there wouldn't be the ecstasy of the full page not to mention the celebration of the completed project.

But oh...there is nothing more barren than that mocking blank page.

Of Three I Sing

Today I pay homage to three of my favourite writers - in all forms of writing. It goes without saying that all of you who are kind enough to comment on my blog are also among my favourites!

MYSTERY

Elizabeth George's novels are incredible. Her plots are tricky and each of her characters seem to have some fatal flaw. Wonderful books which I read over and over again. My only complaint is that sometimes she sounds like she swallowed a dictionary for breakfast but I admit that reading her books has increased my vocabulary!

HUMOUR

No one will replace the late, ever lamented Erma Bombeck. The humanity that shines through in each of her books is beyond measure. Always good for a giggle with situations that have me nodding in recognition. I'm sure she's making God laugh.

OTHER

Nothing to watch on TV? Get yourself anything written by Aaron Sorkin. His dialogue is crisp, comedy appears at the most eccentric times, and some speeches will bring tears to your eyes. You can agree or disagree with what he's saying, but how he says it is pure genius. When I am feeling uninspired I put on a copy of The West Wing to remind me what good writing is capable of achieving.

Who are your favourites? I'd be curious to know? Do you read all types of books or mainly in the genre that you write?

Endings and Beginnngs

This is my last morning of vacation here in the beautiful Okanagan Valley. I'm typing this out on the porch looking out at a light blue sky and sipping my coffee as I try to absorb these last few minutes before the rush of packing the car and feverishly checking under beds and in drawers to make sure that nothing was forgotten.

Beginnings and endings - which are easier to write? In my work, it's endings. I've known how the book was going to end before I even started to write it, so oftentimes I'll write the end long before I've gotten to it chronologically. I try to wrap up all the loose ends but leave a few stray pieces since I have a returning character and his story continues in the other two books of the series.

Beginnings (for me) are nasty. My opening sentence goes through countless rewrites, as does my entire opening paragraph. Where to start? At the beginning? Before the beginning? After the beginning? All are valid. Beginnings set the tone. Vocabulary choices are paramount. Start off wrong and the entire plot goes astray (or at least it does for me).

Beginnings and endings. Each word you type brings you closer to the end. And each ending brings you to a new beginning. My vacation is ended. The school year will be beginning. Take a deep breath and plunge in.

Writers' Routines

I admit cheerfully that I am a creature of habit. Routines make my day a little saner. I'm sure this evolved from the time when my children were very small and any semblance of order was welcome in that endless chaos. Routines are still adhered to in the house (during the school year). Homework is done at a certain time. Meals and snacks have their appointed hours. It's not surprising then that I have built a writing routine.

I can only write on a computer. I have a fairly fast typing speed so I can keep up (more or less) with my thoughts. My handwriting quickly becomes hieroglyphics which is fairly unhelpful if I'm experiencing a creative burst.

I cannot write if there are other people in the room. It's impossible. I don't like the feeling of someone peering over my shoulder and seeing the words appear on the screen. I am a harsh enough judge of my work and any words of encouragement usually fall on deaf ears. I have said to my family that they're in a lose-lose situation. Criticism at an early stage is not encouraged and praise will be disbelieved since my thinking is that they have to say something nice.

Music? Only classical and only if I'm writing casually. If I'm under a deadline or the words are really flowing (what unspeakable joy) then silence is a must. I also am a writer-mutterer especially when it comes to dialogue. I mutter what I write and at the same time add editorial comments. This also may be another reason why I have to write alone - I'm not eager for other's to view my performance!

Before the writing? Emails must be checked and answered. Blogs must be enjoyed! A few games of Freecell never hurt anyone! If today's job is research then the internet is trolled. Pictures are captured. Time to sit back, turn up the radio and absorb my new knowledge. How can I use it? Can I use it? The self-knowledge of recognising that I'm looking up something for my own interest and nothing really to do with the WIP can be somewhat shattering but is ruefully acknowledged.

What are your routines? Are you one of these lucky creatures that can write anytime, anywhere? Must you (like some writers I know) write the first draft by hand and transfer it to computer as a second draft? I'm curious. Share your routines!

A Delicate Balance

At the moment I'm reading a book by a phenomenally successful author which was handed to me a few days ago (I'd run out of reading material, horror of horrors). He was unsatisfied with it but couldn't put a finger on why. After a reading a few chapters I suggested that perhaps it was because this book is all plot and no character. This got me to thinking, "How do we as writers balance this successfully?"

Plots are obviously essential - but to my way of thinking so are well-rounded realistic characters. I've always been interested in not just what people do but why. 'Why' fascinates me. Everyone has their own quirks and their own histories which will colour their decisions. Are they a front-of-the crowd type of person or are they happier in the background? Quietly content with their own company or do they have the need to be constantly surrounded by others? Stock characters bore me - the evil landlord, the poor but noble peasant, the beautiful yet shallow temptress; I want to meet someone more interesting.

I have tried to people my books with characters that readers will relate to. Each of them reacts to plot developments in their own way because each of their histories are different - like real people. I have been told that my books are character-driven, not plot-driven which is interesting considering that I write mysteries.

This book that I'm reading certainly has a plot that moves at a breathless pace and in that respect it is a page turner. I just prefer to read (and write) books that have characters that you don't know instantly. I like to discover the twists and turns of the character's psyches as I follow the unfolding events. That, for me, makes the book's world a real one and not something flat printed on a page.

Whips or Chains?

Aha, I thought the title would get your attention!  Sorry to disappoint, but this post deals with every writer's compulsion to get those fingers a-tapping on the keyboard each day.  Is it self-discipline?  Is it guilt?  Is it a strange twisted combination of both?

I am not one of those writers that think in terms of a certain word count per day.  I like to finish a certain unit - be it a specific step in the plot or a new facet of a character.  It might only be 1 page, but it could be 10 - either way it's one more step along the road.  Self-discipline has never been a forte of mine; but guilt is a great motivator.  I really don't like going to bed and having that little voice in my head sing at me "You did nothing on the book (or whatever) today.  Nothing.  As penance you'll have to do twice as much tomorrow".  This does not lead to sweet dreams.

Writing is hard.  Staring at that blank screen and only typing "Wow, this is going to get deleted but at least I'm writing something" or some line from Shakespeare is amusing in a small way but doesn't get me any closer to actually completing anything.  Coming up with ideas is not hard for me, but getting them down in a manner that doesn't make me ill isn't.  Somedays dialogue is the easiest thing in the world.  Other days my characters sound like stilted marionettes.  Descriptions...same story.  I have spent many hours with my fingers poised hopefully over the keyboard waiting for genius to strike. (Still waiting for the way).

But then there are the days when the words flow and I can't type fast enough to keep up.  When the dialogue sparkles and I can smell the food I'm describing or the garden that my characters are walking through.  Those days I feel like I could fly and those days are why I write.  Maybe it is the whips of self-discipline or the chains of guilt but those wings are magic.

A Room with a View

I can now look up from my laptop and see the morning sun glistening on the lake.  I have soft yellow hills in the distance and vineyards within minutes.  A change of scene.

Some of my views are breathtaking and I understand why this part of British Columbia is often used as a substitute for Tuscany in the movies.  The honour guard columns of vines marching down the slopes are mesmerizing.  We are staying in an old farmhouse which is surrounded by a cherry orchard - I consider this Anton Chekhov's revenge for me never liking his plays.  An occasional vehicle can be heard but the sounds heard most often are birds and crickets.

We stayed at this same house last year and I can write here.  Really write.  My children head down to the lake and I stay here tapping away as my eyes drink in different scenery and my writing takes a fresh breath.

Not such a bad thing, really.  Time to reflect, time to breath, time to write.  And in a room with a view.

Symphony of Words

If I am listening to music when I write the genre I choose is classical.  Writing each book could be viewed as a classical composition as well, combining every player into a well-rounded, beautiful blend of melody.

First are the soloists - your main characters.  Each must speak with their own voice and yet blend harmoniously into the piece as a whole.  I think about each character's vocabulary and speech rhythms.  Is this character well-educated?  Are they plain-spoken or crafty?  Nervous or confidant?  Answers give me the right notes.

Surrounding each of your soloists are the other members of the orchestra - your background characters.  Each has an essential role to play but can't draw too much attention to themselves.  Tricky.  I aim for their voices to be heard for a moment but not to be so unique that the voice will be missed.

No symphony could be played without a conductor - the one who puts their mark on every player and makes every creative decision - the author, if I continue this metaphor.  The author's voice is heard throughout the piece and must be distinctive, yet let the other players be heard clearly.

Nobody said this was easy; but it certainly can be a satisfying experience to read it all come together and hear each book's symphony.

What's In a Name?

Names.  Who is that character?  You know...the tall one with the big nose and says things that make you laugh out loud.  What's his name?  Okay; is that the right name?  Names.  They'll get you every time.

I name my characters first, then I flesh them out.  If the name is wrong, nothing else falls into place.  If the name is right, I can hear his/her voice.  The wrong name is like putting a rubber nose on the Mona Lisa.  Amusing, yes; but ultimately not so good an idea.

I admit that I am somewhat sensitive about names - having spent a lifetime (and I'm really not exaggerating) explaining to people how to pronounce my own.  There was an email that has made several rounds demonstrating that most people only read the beginning and end of a word and that the middle could be gobbledegook.  This explains why I have answered to "Elizabeth" all my life.  Nothing wrong with the name, it's just not mine.  Mine is the Scottish version (which is interesting when you're not Scottish).  I digress...

When do you name your characters?  Are their names important or is this another thing that I must add to my already lengthy list of 'Things That I Must Learn Not to Obsess Over"?

The Spine

One of the most important lessons that I have learned through bitter experience is "Don't forget your spine".  This does not mean that I'm wimpy;  in fact I have been told that I can defend my positions with gusto; no, I'm talking about the spine of your story - that one sentence that sums everything up.  The 'what happens when' or 'what happens if' or 'Why...' that got the ball rolling back when the hints of the plot first starting knocking on your consciousness.

Yesterday I was talking to someone who is having trouble writing a play.  They have done mountains of research and adore the subject matter.  I asked "What's your play about?" and answer came there none. I expounded my theory that without the spine no one will get anywhere.  The spine becomes your roadmap, your litmus test.  I use it constantly to assure myself that I'm staying on track.  Does each sentence push the plot forward, add a new dimension to a character, color a scene?  If the answer is yes - the sentence (or paragraph) stays.  If not - out comes the highlighted delete weapon of destruction.

The spine, ladies and gentleman.  No book, play, screenplay etc. can survive without it.

Pass the Wine, Please

Just when you think you have enough stress in your life the gods decide to add a bit more.  First was the death of my laptop and the accompanying terror.  Next came the horror of the cost of a new one...just at the time of year when I'm buying school supplies and clothes for ever-growing teenagers.  Then I had to deal with a customer's issues with one of my mystery games - which took hours.

On the plus side, I am now typing this blog on my new computer.  My old hard drive was undamaged so everything was saved and put into this one.  All hail the powers above.  The customer seems to be content.  All hail again.

It would be wonderful if  I could use any of these incidents in any of my stories but this brainwave has not yet occurred.  Hoping there's a silver lining to all these clouds, but in the meantime, pass the wine please.

Moving Forward?

I have always been one the world's best procrastinators. I am superb at starting projects and not so good at finishing. Both of these attributes makes writing a bit of an up-hill battle. On the other hand, I like routines. Sitting down to write at a certain time every day gives me a sense of order. Actually writing, however, is a different kettle of fish. There are blogs to peruse and enjoy. There are the news sites to check, email to check and reply to...not to mention a few rounds of my computer game of choice. See my dilemma?

I'm not without discipline (despite what I've written in the foregoing paragraph). I meet every deadline. I am quick to customer queries about my games. Commissions get done promptly. But my own writing? It does get worked on, but not at a steady pace. I wish I could be one of those writers who can demand of themselves a certain amount of words per day. There are days when I write over 2,000. There are days when I'm lucky to write 20.

I am finding writing this blog daily very helpful. It is forcing discipline on me in a gentle way. There's no consequence to not writing except personal guilt. Guilt works. Self-imposed deadlines work to a degree. I need to move forward and stop poking in the quicksand.

To Holiday or Not to Holiday

My family and I are nearing vacation time which will be followed by back to school time. My teenagers are in deep denial, my youngest is looking forward to seeing her friends. But first...vacation.

Now comes the tough stuff. How much writing should I expect of myself? I am on vacation after all! The idea of doing nothing is incomprehensible and unrealistic. However, I don't want to feel guilty for spending time away from the computer or my notebook. Is this possible? Is time spent doing nothing (and I mean really nothing) well spent? Some of this guilt may come from the fact that as a writer you don't go to an office everyday and therefore vacation means a huge change in routine. My routine doesn't change - just the location. The sense of responsibility travels.

How good are you at really taking time off? Do you carry a notebook on vacation and make surreptitious notes on your WIP? Is it possible for writers to take a vacation?

Fact or Fiction?

The wisdom shouts "Write what you know" which is tricky to follow when I've never been in a room when a body is found, nor do I surround myself with somewhat shady characters (unless I have completely misjudged my friends). Does this wisdom apply to settings as well?

None of my stories take place anywhere near where I live. I can't put a story here - it's just wrong. I know many of you do place your characters in your own 'backyard' but I can't seem to be able to. All my plots take place overseas (and at least 60 years ago)- which makes research a mite tricky.

I've scoured the web for photos (thank you Google maps), read countless travelogues. perused through old magazines but I can't actually go there. I have found the British TV series "Foyle's War" to be immensely helpful - for what I can see in the background. By the way, if you want to enjoy a fantastic mystery series watch it!

The actual house in my first book is fictional - but it's placed outside a real village - but I need the village and countryside of 60 years ago. Here's the rub: I understand that if your story takes place in New York or Chicago or Paris you'd better get the location (i.e. street names, intersections, etc.) correct if you don't want to upset the citizens of that fair city, let alone anyone who has ever visited there. My story takes place in the past. I can make it as correct as possible, but aside from time travel I'm fairly stuck. I do plan to travel to check the topography of the area and to answer certain questions - what birds can I see? Is the river fast-flowing or slow? How cold is it?

How much fact should be in our fiction? How much fact is in yours? Do you stick rigidly to reality or do you play with it a smidgen?

Computer Woes

Oh woe for my laptop! Sing sad dirges and beat a muffled drum!

Something has occurred. I have no idea what's wrong, but my laptop decided to go 'ping' and die. This is not good news for me. I have written on the household's PC but it's much better for me and much better for continuing peace on the home front if I do my writing on another computer. I wandered around yesterday like a lost sheep and was in a highly irritable mood. I'm hoping that the Mac store can fix it without the cost bringing tears to my eyes.

It has served as another reminder of how superstitious I can be. Once I have found a workable routine I like to stick to it, not to mention the feeling of 'this worked before, it will work again'.

Are all creative types superstitious? Do you have certain routines that you feel happier following? And please...send good vibrations to my laptop.

Writer's Hurdle

Now, let me make something clear right away - I'm not suffering from writer's block at this moment (knocks on near-by piece of wood), I am suffering through 'writer's hurdle'. Writer's hurdle shall be defined as "The failure to resolve a single plot point and thus brings the writing to a complete halt".

While laboring on my WIP I have tripped over this hurdle before. I cleared it with room to spare. But this time my brain keeps telling me "That doesn't make sense, you porridge-head!" I am not finding this encouraging. I have tried to take a step back and let the ideas flow in but so far I keep coming up against the same hurdle.

The agony is the fact I'm so close to finishing I can smell it. I know all I need to do is resolve this one point and everything will fall into place. I keep waiting for the bright idea to arrive with a 'ping' but this has not occurred.

I'm really hoping that writing about it will cue the ping. Or the pong. At this point any noise will do.

Reading List

My thoughts are starting to turn to thoughts of vacation as my family will be going to the Okanagan Valley in two weeks. As the One Who Packs I am starting to compose mental lists and one of those lists is "What To Read".

Every vacation I bring along edifying books (why are they always really heavy?) thinking that this is my chance to finally read them. This never happens. I don't finish reading The Complete Works of William Shakespeare. I don't reread Homer. I read for fun. Books that make me laugh or wonder at the author's genius. Old favorites will include at least one book by Elizabeth George and one of Alex Guinness' masterpieces.

I've tried to take books that need intense concentration. What was I thinking? Vacation is not a time for deep study. It is a time to be reading something that you don't have self-reproaching guilt every time you lay it down.

What do you read when on vacation? Any recommendations?

Is It Too Much?

Every writing site seems to exhort 'show don't tell'. Now, I understand that action is better than passive description but some of the examples that are given strike me as florid.

What may be handicapping me is my 'less is more' philosophy gleaned from many years of working in the theatre as an actor and director. I find descriptions that go on for pages boring. When I'm the reader I skip them. I'm certainly not advocating a plain text book as that would be as dull as dishwater as well. But surely there's a happy medium. Descriptions of locations that actually describe the scene. Detail is fine, but I really don't need the poetry of every glistening raindrop as it trembles on a tender newly-unfurled leaf.

I could, of course, be completely wrong. Working on "The Watcher" has made me very aware of word choices and conveying a scene concisely is mandatory in a short story. However my history has shown me that my most constant revision in all of my work has been 'I've taken 15 words to say what I could have said in 7'.

Can 'less is more' be applied to writing? Or is it 'more is more'? What works for you?

Smiling and Writing

Does your mood affect your writing? I know that mine certainly does. If I'm feeling scattered or stressed about something to do with home then it's a fairly good bet that my writing will be scattered and stressed. Which leads to more stress...which is ironical.

I would suppose that a good writer would be able to shut out the outside world and tap away on her keyboard much like an actor must concentrate on his performance. I never found it difficult to accomplish the latter, but the former seems to occasionally exceed my grasp.

I am constantly put in new stages of awe as I learn more about other authors' discipline and diligence concerning their craft. It makes me feel very small. I do not seem to have a key to the floodgates at my disposal. I can either write or I can't. If I do write during a 'can't' time I guarantee that I'll be deleting it later (and have a little voice telling me this fact the entire time I'm writing).

On the plus side, "The Watcher" continues apace. It's turning out to be an interesting exercise in word choice and plot/character balance.

Here's my wish for good moods for all of you!

Is That a Light I See?

As I lay awake last night watching the minutes disappear on my clock (the heat, oh the heat) I had a small breakthrough with my short story. Now I wasn't inspired enough to get up and start writing (the heat, oh the heat) but I am attacking "The Watcher" head-on instead of warily sidling up to it holding my breath.

I think since this is a new format for me (haven't written a short story since high school and that was back when Caesar was searching for a decent Chianti) the mathematical approach will work best. The story can be broken into four sections. I know my desired word total. Divide and conquer.

No idea if this will actually work. I'll keep you posted. (the heat, oh the heat)!

The Wonderful World of Procrastination

I keep telling myself that all these ideas that are bubbling in the back of my brain are simply not formed enough to be set down on paper. I keep telling myself that all I need to do is think about them a little bit longer and then the words will flow like a river.

This is crap, of course. I'm not writing because I'm procrastinating. It's my finest skill and one I have honed for many years.

Now it is true that when you're writing a mystery there is a little thing called plot. All the pieces of the puzzle have to come together at some point. I also believe that you have to give your readers a fighting chance at solving the crime. There is nothing that makes me angrier than reading a mystery and getting all this new information at the end as the guilty party is revealed. I have no problem thinking "Why didn't I pay more attention to..." but to have had information withheld makes me furious.

At the moment I am working on "The Watcher" which is a short story headed (hopefully) for a mystery magazine. I'm wanting to come in at about 2,500-3,000 words. I am finding it a challenge to write a good mystery in so few words.

Ah well. Once more unto the breach.

It's Hot

I wish that I was writing something witty and erudite, but the simple fact is that the Fraser Valley (which is where I am located) is going through a massive heat wave. Very few people around here have central air conditioning because it's usually not needed. I'm changing my mind about this and thinking about the lesson that I learned when we got a car with air conditioning. Used much? No. Appreciate it when it is needed for those few weeks of a year? With every fiber of my being.

Adding to my misery is the fact that I had several large trees cut down last week. Now, I'm not a tree-hater. If you've grown up on the west coast you can't be a tree-hater - it's one of the rules. Seriously, it's there. It's right beside pitying anyone who lives 'back east'. But the trees needed to come down and my house has lost some of its shade on the south side. Cue the heat wave.

Trying to write in this weather is nigh on impossible. The only thoughts going through my brain are how to keep cool and worrying about how hot the cats must be feeling. My children live in the basement watching movies on dvd. It's the coolest place in the house. Meanwhile I ooze about the place feeling like a large sponge.

The fall sounds good right about now.

A Trial of Characters

I have found it constantly fascinating over the years how some characters are easy to write and some are like pulling hens' teeth. Some characters can surprise you with their wit and wisdom and on more than one occasion they have surprised me with their vocabulary. Other characters sit resolutely in the background mumbling inaudibly. Who are these characters and more importantly, why are they here?

My usual journey leads me to discover that each of these characters is there for a reason - although not necessarily the reason that I first thought. It seems that no matter how much research I do, how much outlining and planning, the damn people in my stories are determined to tell the tale their way and not mine. I have learned that nine times out of ten they know best.

Have other authors had this particular dilemma? I'd like to know.

Why Does Writing Always Seem to Lose?

I seem to have come upon a conundrum - why do I always put my writing at the bottom of the 'things to do' list?  Is it because I'm a woman?  Is it because I'm a mother?  Is it because I have a house to maintain?

My answer is because it's not a 'traditional' job.  There's no going to an office with co-workers and coffee breaks and vacation time.  Now, it IS a job in that I get paid for my writing (which certainly helps with expensive children and an old house) but I really think it's because it's a stay-at-home job that it gets short shrift.

True, you CAN write anywhere.  If you've got a pen and paper then you're golden.  But you need time.  And for me, solitude.  I have discovered that if I'm just working out plot or background then I can listen to the radio (my wonderful Classic FM from London, England), but if I'm REALLY writing then it must be quiet - mainly because I mutter as I write and I need to hear myself!  This habit tends to garner odd looks if I'm in a public place.  I didn't mind being looked at when I was acting on stage - and if I could get a good laugh then I was really cookin' but in real life I'm not that forward.  I have trouble speaking to strangers. 

Everything that I've read about writing keeps reiterating that you must set aside a certain number of hours each day to write.  I get that - it's just the reality of it that kills me.  I think women are conditioned to put themselves last - or at least mothers are.

Food for thought. 

To Re-write or Not to Re-Write, That is the Question

I find re-writing a somewhat tedious chore.  For every passage that I like (and honestly think 'did I actually write that?) there are 3 passages that I look at and think 'seriously?  What was I thinking?'

I had a late night revelation a few nights ago (as opposed to a late night revelation which I could have had in the afternoon) and am now playing with changing certain plots - which will necessitate changing other plots, which could lead to a whole bunch of re-writing.

The bigger question is:  When is enough enough?  How do you know that the book is where it should be and to just leave the damn thing alone?  If a large siren would sound it would be better.  Or a loud deep voice warning me to 'step away from the computer'.  

Ah well.  Perhaps I'll work on something else and come back for a 'sober second look' later.

A Good Day

It may be gloomy outside but the sun is shining in my writing world.  For the first time in a long while (too long, actually)  I have had pictures springing into my mind so quickly that it's been hard to keep up.  It's a lovely feeling.  I can see the book enacted before my eyes and my job is to describe what I'm seeing as well as I can.  Once again, the whole process amazes me.  Things that I didn't know would happen are happening.  Characters that I was sure would be nothing more than background are resolutely pushing themselves forward.

I am curious to see where it all leads but for now I am enjoying the ride.  It is lovely to be writing what I want and not writing what others want.

'The Watcher'

I am beginning work on a short story entitled "The Watcher" - which takes place during a couple's honeymoon cruise.  I have most of the plot in my head so I have high hopes that the actual writing will not take too long.  Here's hoping to getting it right!

Aaron Sorkin wrote "(a writer) prays for a roll the way a farmer prays for rain".  He's so right.  So I now pray for rain.

Why can't I write like him?

In a Sea of Indifference

There are times when I have to wonder if it's all really worth it.  Writing is tough.  Many people seem to have this romantic view of a writer - sitting in a drafty attic, feverishly writing down the brilliance that flows into his brain.  I do not find it so.  I find it tricky.

It might be easier if I had grown up wanting to be a writer, but that simply isn't the case.  Writing seems to be something I always did but never paid much attention to.  I wrote all the plays that my class did in school.  I wrote short stories.  I wrote mystery scripts for various theatre companies.  But I always did it so that I could be IN the plays.  I find it amusing that the writing is now the way that I make my living.  Irony - not a fan?

It is a lonely life.  It would be nice to have others around so that I could bounce ideas off them - or simply to be able to hear another human voice during the day while my kids are at school.  It's a good thing, I suppose, that I have always been happy with my own company.

Enough of this whine of self-pity.  I'll get over it.  And I'll finish the mysteries that I've said I'll finish.

Grrrrrr.