True to form, I'm running behind in my posts. Let's see, I tried to come up with an excuse, but couldn't find any that sounded legitimate, so let's try this one :
I'm going to a conference this weekend, and I've been trying to finish an article to submit next week, write a synopsis of the 60,000 word historical novel I would like to find an agent for, and making up new business cards because I waited too long to have them made for me. Will that do??
Hmm. Well, okay, let's get to the business at hand!
What do you celebrate? I mean, besides the usual birthdays and anniversaries. Last week I celebrated the fact that my husband, who has been very ill, is now well on his way to recovery. I know this to be true because he's now getting grouchy, can't stand to "take it easy," so that's a sure sign of wellness! I celebrated by going to Starbucks and getting us both a Grande Caramel Frappachino with extra caramel LOL.
Sunday we both celebrated the 10th anniversary of 9/11. Now, don't get upset. You probably think "celebrate" is exactly the wrong word to use. We lost friends that day, friends who were visiting the Towers when the planes hit. We have grieved over their deaths long enough. Sunday we celebrated their lives, who they were, the kind of people they were, what they stood for, the strength, love, dedication to their family... all of the good qualities they had, and there were many. This is what we celebrated. We raised a toast ( okay, it was coffee, but still...) not to their deaths, but to their lives. We are bound to the thousands of friends and families of those who died that day, but for us, it was time to gently lay aside our personal grief and remember the good, instead of focusing on the bad.
Yesterday I celebrated an agent's rejection! When I opened my email yesterday morning, and found a post from her, I was so excited! Then I read it, and my excitement deflated faster than a balloon with a hole in it. I was so disappointed, as she was someone I really wanted to connect with.
Then I read her post again, and thought...WOW! It was personal, addressed to "Dear Mikki." In it, she said that she liked my story ( it was my historical novel) but didn't "fall in love" with it, so she was passing on it. She went on to say not to give up, that what one agent didn't love another one would. Keep writing!
Now, I don't know about you, but to me that rejection was something to keep, and something to celebrate! How many times do we get a really personal rejection? How many times do we get a cold form rejection? How many times do we not get anything at all, and after months of waiting, have to assume we've been passed by?
Yes, this was my very first personal rejection. NOT my first rejection by any means, but the first really personal one. So I am celebrating it! I'm telling everyone I know all about it, even those friends and family members who look at me strangely and wonder if maybe I've lost a few marbles. Okay, I know no one but my writer friends will understand, but that's all right, it still doesn't put a damper on my celebration.
What will I celebrate today? Perhaps getting my new business cards made up... if I do. Or finishing that synopsis to take along to the conference... if I can finish it so that it makes sense. Or who knows? Hopefully, I WILL have something to celebrate today, even if it is just some small accomplishment that doesn't mean anything to anyone but me.
What do you celebrate? Think about it. Let me know.
Until next time,
That's a wrap.
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Wednesday, September 14, 2011
Monday, September 5, 2011
Monday's Meanderings: Random Acts of Kindness?
Saturday I was driving down the freeway, minding my own business, when up ahead I noticed a car waiting...and waiting...at the on-ramp. I was in the right lane, no traffic at the moment behind me or in the left lane, but cars ahead of me wouldn't let this car onto the freeway. I never stop on the freeway to let a car come on, and I seldom slow down, either, because there's usually traffic behind me. But this time, something said...slow down and let the car on. I checked again...no cars close behind me... so I slowed down just a bit and motioned for the driver to come ahead.
The driver was a woman, who waved cheerily at me as she came onto the freeway just ahead of my car. As we picked up speed, three kids in the back seat of her car all stuck their heads out of the back window... for a moment looking like those "bobble heads" you see on dashboards... and started blowing kisses to me. What a pleasant surprise! I laughed at them, and blew a kiss back.
Then her car picked up speed, as in about 15 miles above the 65 mph limit, and she abruptly turned into the left lane right in front of a big truck. She almost gave me a heart attack, because it was an 18-wheeler who had to brake for her. He probably sat uncomfortably in his britches for the next few miles! It was then that I saw all three of those kids bobbing around in the back seat, and realized they did not have their seat belts on. The mother did, I saw it. Why didn't they?
I could see her car up ahead...a bright yellow Taurus, kinda hard to miss... and could see her reeling in and out of traffic, from one lane to the other, until she finally disappeared from view...still going at about 80 to 85 mph. I couldn't stand it... I didn't want to read the next day about a woman and her three children being injured or dead in a car accident. I pulled over to the shoulder, stopped, and called 911. All I could give the dispatcher was the make, model, and color of her car, but also how fast she was going and that the children didn't have on seat belts. She sent it out to the CHPs.
The rest of the way home I was thinking about that car. I had slowed down on the freeway to let her get on... something that ordinarily I wouldn't have done, because it's not exactly safe driving. A "random act of kindness." That got me to thinking about "random acts of kindness." We all do them. Most of the time, we do them without thinking about the act itself, so I guess that's why they are called "random."
I wonder, though, what effect that act, whatever it was, has upon the person who receives that little bit of kindness. Does it affect them in any way? Does it make them want to "pay it forward," or do they forget it as quickly as it was done?
My letting that car on the freeway was of no importance as to how the woman was driving or why her children didn't have on seatbelts. She would still have eventually gotten on, and she would still have begun driving fast and erratically. But I wonder if she gave any thought at all to having someone actively "allow" her on the freeway? I wonder if she considered it an act of kindness, or... did she simply consider it her "due" because she needed to get on, therefore I "should" have slowed down for her? If I had not slowed down, would sitting there a few moments longer have had any impact on her driving? I seriously doubt it.
Nevertheless, it got me to thinking about the concept of 'random acts of kindness.' How often do you commit this kind of random act? Are you aware at the time that you are doing something for someone else, or is it just a passing thought that doesn't have any real meaning for you, but at the moment you hope it will help someone else? How many times are the acts of kindness you pass along to someone really "random," and how many times are they deliberate? Either way, do you ever think about the effect that act might have upon the person receiving it? Will it always be good... or could that act possibly lead, at times, to something more evil than good?
Think about it. Let me know.
Until next time,
That's a wrap.
The driver was a woman, who waved cheerily at me as she came onto the freeway just ahead of my car. As we picked up speed, three kids in the back seat of her car all stuck their heads out of the back window... for a moment looking like those "bobble heads" you see on dashboards... and started blowing kisses to me. What a pleasant surprise! I laughed at them, and blew a kiss back.
Then her car picked up speed, as in about 15 miles above the 65 mph limit, and she abruptly turned into the left lane right in front of a big truck. She almost gave me a heart attack, because it was an 18-wheeler who had to brake for her. He probably sat uncomfortably in his britches for the next few miles! It was then that I saw all three of those kids bobbing around in the back seat, and realized they did not have their seat belts on. The mother did, I saw it. Why didn't they?
I could see her car up ahead...a bright yellow Taurus, kinda hard to miss... and could see her reeling in and out of traffic, from one lane to the other, until she finally disappeared from view...still going at about 80 to 85 mph. I couldn't stand it... I didn't want to read the next day about a woman and her three children being injured or dead in a car accident. I pulled over to the shoulder, stopped, and called 911. All I could give the dispatcher was the make, model, and color of her car, but also how fast she was going and that the children didn't have on seat belts. She sent it out to the CHPs.
The rest of the way home I was thinking about that car. I had slowed down on the freeway to let her get on... something that ordinarily I wouldn't have done, because it's not exactly safe driving. A "random act of kindness." That got me to thinking about "random acts of kindness." We all do them. Most of the time, we do them without thinking about the act itself, so I guess that's why they are called "random."
I wonder, though, what effect that act, whatever it was, has upon the person who receives that little bit of kindness. Does it affect them in any way? Does it make them want to "pay it forward," or do they forget it as quickly as it was done?
My letting that car on the freeway was of no importance as to how the woman was driving or why her children didn't have on seatbelts. She would still have eventually gotten on, and she would still have begun driving fast and erratically. But I wonder if she gave any thought at all to having someone actively "allow" her on the freeway? I wonder if she considered it an act of kindness, or... did she simply consider it her "due" because she needed to get on, therefore I "should" have slowed down for her? If I had not slowed down, would sitting there a few moments longer have had any impact on her driving? I seriously doubt it.
Nevertheless, it got me to thinking about the concept of 'random acts of kindness.' How often do you commit this kind of random act? Are you aware at the time that you are doing something for someone else, or is it just a passing thought that doesn't have any real meaning for you, but at the moment you hope it will help someone else? How many times are the acts of kindness you pass along to someone really "random," and how many times are they deliberate? Either way, do you ever think about the effect that act might have upon the person receiving it? Will it always be good... or could that act possibly lead, at times, to something more evil than good?
Think about it. Let me know.
Until next time,
That's a wrap.
Tuesday, August 30, 2011
Tuesday's Teaser: Create a Setting That's "In Character":Part Two
Last week I talked about using all five senses in your setting, and how that can add to your overall scene. But what else is important in creating a setting for your characters?
The first thing to think about is where the major part of your story takes place. Is it in a fictional town, fantasy world, alien planet? Is it in the desert or a forest or the middle of a city? When you know where it takes place, then answer this question: is it possible for it to take place somewhere else?
Before you answer THAT question, think about your Main Character's relationship to the setting: is this a place where she grew up or someplace that she relocated to; is it a place she loves or fears or perhaps just takes for granted; is she familiar with it, or does it seem strange or alien to her; if you take her out of this setting and put her somewhere else, will the story still work? Sometimes we need to know more about our main characters before we decide where to set the story. It usually doesn't work to decide upon a place where we want to set the story, and then go back and work our characters into it.
Now you've decided definitely upon the place for your setting. How do you bring it to life? Think about this: you're on vacation. You've gone to wonderful little fishing village on the coast of France that you've longed to visit. What are your feelings when you get there? What sensory overload do you enjoy...the piquant odor of freshly caught fish on open tables, the taste of ocean salt upon your lips, the rough texture of the cobblestone streets beneath your feet, the deep blue of the sea, dotted heavily by the white sails of fishing boats, and the hungry cries of circling sea birds overhead?
What emotions are you experiencing during your visit? How do you react to the people, the language? Are you familiar with them, or is everything so new that it either intrigues you or frightens you? This is what brings this village to life for you, and these same elements should bring the setting to life for your characters.
And remember, how your MC reacts to the setting she's in, the emotions she feels, the way she might describe what she sees or hears or feels will not be the same for your other characters. Just as we all act and react differently to all issues in our lives, including those that are specific to the setting we're in, so will your characters act, interact, and react differently.
When you're describing your setting, don't think you have to suddenly become a travel writer, and describe every house, tree, or flower in minute detail. What you want to do is bring your setting to life through your characters, especially your main character. For example, my historical novel is set in pre-Civil War Kentucky. Because it is historical, all of the physical facts ( geography, weather, kinds of housing, clothing, etc. ) have to be accurately portrayed, but there is more to bringing a setting to life than those factors. I've included parts of speech, expressions and colloquialisms, that were used during those times; what kind of family discussions were appropriate for that era; how my MC interacted with his father, which is much different than the way kids interact with parents today; what kinds of inner conflicts my MC had because of where he was, his own beliefs, and the beliefs and conventions of the institution of slavery.
These factors, and more, all add to the historical accuracy of that era, but more importantly, bring the setting of slavery on a plantation to life through the emotions, actions, interactions, and reactions of my MC with his environment...i.e..the setting of the novel.
Your setting does not have to be that of an historical novel. No matter what time era it is, no matter whether it is a contemporary setting in today's world, or a fantasy setting in a never-never land, you still need to bring that setting to life. You need to make good use of the five senses; you need to have a great descriptive narrative; most of all, you need to develop a strong 'sense of place' through your characters, and how each feels about and reacts to that setting. Each one will be different, and each of those differences will bring your setting to life in such a way as to make your readers believe they are a part of it.
Have fun with it, enjoy it, make it come alive, and your setting will become its own character in your novel.
Until next time,
That's a wrap.
The first thing to think about is where the major part of your story takes place. Is it in a fictional town, fantasy world, alien planet? Is it in the desert or a forest or the middle of a city? When you know where it takes place, then answer this question: is it possible for it to take place somewhere else?
Before you answer THAT question, think about your Main Character's relationship to the setting: is this a place where she grew up or someplace that she relocated to; is it a place she loves or fears or perhaps just takes for granted; is she familiar with it, or does it seem strange or alien to her; if you take her out of this setting and put her somewhere else, will the story still work? Sometimes we need to know more about our main characters before we decide where to set the story. It usually doesn't work to decide upon a place where we want to set the story, and then go back and work our characters into it.
Now you've decided definitely upon the place for your setting. How do you bring it to life? Think about this: you're on vacation. You've gone to wonderful little fishing village on the coast of France that you've longed to visit. What are your feelings when you get there? What sensory overload do you enjoy...the piquant odor of freshly caught fish on open tables, the taste of ocean salt upon your lips, the rough texture of the cobblestone streets beneath your feet, the deep blue of the sea, dotted heavily by the white sails of fishing boats, and the hungry cries of circling sea birds overhead?
What emotions are you experiencing during your visit? How do you react to the people, the language? Are you familiar with them, or is everything so new that it either intrigues you or frightens you? This is what brings this village to life for you, and these same elements should bring the setting to life for your characters.
And remember, how your MC reacts to the setting she's in, the emotions she feels, the way she might describe what she sees or hears or feels will not be the same for your other characters. Just as we all act and react differently to all issues in our lives, including those that are specific to the setting we're in, so will your characters act, interact, and react differently.
When you're describing your setting, don't think you have to suddenly become a travel writer, and describe every house, tree, or flower in minute detail. What you want to do is bring your setting to life through your characters, especially your main character. For example, my historical novel is set in pre-Civil War Kentucky. Because it is historical, all of the physical facts ( geography, weather, kinds of housing, clothing, etc. ) have to be accurately portrayed, but there is more to bringing a setting to life than those factors. I've included parts of speech, expressions and colloquialisms, that were used during those times; what kind of family discussions were appropriate for that era; how my MC interacted with his father, which is much different than the way kids interact with parents today; what kinds of inner conflicts my MC had because of where he was, his own beliefs, and the beliefs and conventions of the institution of slavery.
These factors, and more, all add to the historical accuracy of that era, but more importantly, bring the setting of slavery on a plantation to life through the emotions, actions, interactions, and reactions of my MC with his environment...i.e..the setting of the novel.
Your setting does not have to be that of an historical novel. No matter what time era it is, no matter whether it is a contemporary setting in today's world, or a fantasy setting in a never-never land, you still need to bring that setting to life. You need to make good use of the five senses; you need to have a great descriptive narrative; most of all, you need to develop a strong 'sense of place' through your characters, and how each feels about and reacts to that setting. Each one will be different, and each of those differences will bring your setting to life in such a way as to make your readers believe they are a part of it.
Have fun with it, enjoy it, make it come alive, and your setting will become its own character in your novel.
Until next time,
That's a wrap.
Wednesday, August 24, 2011
Friday's Fare: Review of Middle School: The Worst Years of My Life
Middle school! The time in any kid's life when he or she really, truly, begins to "grow up". But growing up means dealing with problems not usually found in elementary school: changes in one's body; changes in one's personality, usually steming from said changes in one's body; homework which increases both in terms of quantity and difficulty; attraction to girls, along with things like dances, sports, and cheerleading; grades, which are definitely more important than they were during the past 5 years in school; and of course, the seemingly ever present bully.
All of these things can be really tough on any kid, but when Rafe Khatchadorian enters 6th grade, "tough" becomes "impossible to survive." He hates his school, which he insists was at one time a medieval prison that they forgot to tear down and turned into a middle school instead.
Today that prison is home to the Diabolical Dragon Lady ( his English teacher); the Lizard King ( the principal); the Three Witches Millie, Billie, and Tillie ( the cafeteria ladies); Sargeant Stricker ( the vice-principal); The Ogre ( the gym teacher ); and..oh yes, we mustn't forget Miller the Killer, the ( 9 foot ) school bully.
Unfortunately for Rafe, home is no refuge, either. Here he deals with his little sister Georgia who is "super-obnoxious" and "super bratty;" his mother whom he loves dearly but is never around because she is always working . She has to work double shifts to support not only him, his sister, and herself, but also Rafe's soon-to-be-stepfather who does nothing but lay around all day, drinking beer and watching TV. Carl, better known as Bear, is in his own way as big a bully as Miller the Killer.
The one saving grace for Rafe is his very best friend, Leonardo the Silent. "The Silent" because he hardly ever talks, and when he does it's just to Rafe. Leo comes in very handy, however, because he gives Rafe an idea of how to "beat the system" of 26 pages of RULES for middle school behavior. It is a stupendous idea!
Rafe invents a game based on Leo's idea. That game is going to give him points for breaking every rule of conduct on each of those 26 pages. All Rafe has to do is figure out the best way for each rule to be broken. He also get "bonus" points for the amount of creativity used in breaking a rule, points for causing laughter from the other kids when he breaks a rule ( because he intends to break each one in a most obvious way, so that everyone...including the Dragon Lady and the Lizard King...knows about it), and of course, MORE bonus points if he is observed by the most popular girl in school, Jeanne Galletta.
But things don't turn out exactly as Rafe has planned. He is spending more and more time in detention, his grades are D's and F's...even some unasked-for tutoring by Jeanne can't bring them up, and he makes his mom cry. Events take a turn for the worse when he loses his book with his rule-breaking game in it to Miller the Killer, and the only way he can get it back is to buy it, one page at a time. So now he is in even bigger trouble, something he didn't think possible, and this time, Leo can't get him out of it.
His troubles just keep mounting up until finally the police are called in, and Rafe has no choice but to tell all. Surprisingly enough, help comes from a most unexpected source, and Rafe realizes that life can not only get better, but be far more exciting by going in a totally different direction...one he loved, but never thought would amount to anything.
This is the hilarious and amazing adventure of one boy's misguided attempts to survive middle school. James Patterson and Chris Tebbetts teamed up to make a fascinating graphic novel, all the more exciting because of Laura Park's hysterical illustrations which detail every thought and move in Rafe's life.
The game that Rafe invented to break all the rules and the ways in which he broke them are delightfully imaginative, even though they sometimes border on dangerous, and inevitably, lead him to pay the consequences of his actions. Nevertheless, you will identify with him, probably remember with great clarity some of your most poignant moments in middle school, and you will undoubtedly laugh out loud with each page you turn.
The most tender and emotional moment in the book is the revealing of Rafe's mysterious friend, Leo. After laughing all through the book unil your sides hurt, this revelation will bring tears to your eyes.
Middle School: the Worst Years of My Life is one of the best kids' book I've ever read, one I will most probably read again, and one which I assure you should be on your list of 'next to buy.' You won't regret it...oh yes, and if you have a boy ( or girl) in or getting ready to go into middle school, be sure you let them read it, too!
Until next time,
That's a wrap.
All of these things can be really tough on any kid, but when Rafe Khatchadorian enters 6th grade, "tough" becomes "impossible to survive." He hates his school, which he insists was at one time a medieval prison that they forgot to tear down and turned into a middle school instead.
Today that prison is home to the Diabolical Dragon Lady ( his English teacher); the Lizard King ( the principal); the Three Witches Millie, Billie, and Tillie ( the cafeteria ladies); Sargeant Stricker ( the vice-principal); The Ogre ( the gym teacher ); and..oh yes, we mustn't forget Miller the Killer, the ( 9 foot ) school bully.
Unfortunately for Rafe, home is no refuge, either. Here he deals with his little sister Georgia who is "super-obnoxious" and "super bratty;" his mother whom he loves dearly but is never around because she is always working . She has to work double shifts to support not only him, his sister, and herself, but also Rafe's soon-to-be-stepfather who does nothing but lay around all day, drinking beer and watching TV. Carl, better known as Bear, is in his own way as big a bully as Miller the Killer.
The one saving grace for Rafe is his very best friend, Leonardo the Silent. "The Silent" because he hardly ever talks, and when he does it's just to Rafe. Leo comes in very handy, however, because he gives Rafe an idea of how to "beat the system" of 26 pages of RULES for middle school behavior. It is a stupendous idea!
Rafe invents a game based on Leo's idea. That game is going to give him points for breaking every rule of conduct on each of those 26 pages. All Rafe has to do is figure out the best way for each rule to be broken. He also get "bonus" points for the amount of creativity used in breaking a rule, points for causing laughter from the other kids when he breaks a rule ( because he intends to break each one in a most obvious way, so that everyone...including the Dragon Lady and the Lizard King...knows about it), and of course, MORE bonus points if he is observed by the most popular girl in school, Jeanne Galletta.
But things don't turn out exactly as Rafe has planned. He is spending more and more time in detention, his grades are D's and F's...even some unasked-for tutoring by Jeanne can't bring them up, and he makes his mom cry. Events take a turn for the worse when he loses his book with his rule-breaking game in it to Miller the Killer, and the only way he can get it back is to buy it, one page at a time. So now he is in even bigger trouble, something he didn't think possible, and this time, Leo can't get him out of it.
His troubles just keep mounting up until finally the police are called in, and Rafe has no choice but to tell all. Surprisingly enough, help comes from a most unexpected source, and Rafe realizes that life can not only get better, but be far more exciting by going in a totally different direction...one he loved, but never thought would amount to anything.
This is the hilarious and amazing adventure of one boy's misguided attempts to survive middle school. James Patterson and Chris Tebbetts teamed up to make a fascinating graphic novel, all the more exciting because of Laura Park's hysterical illustrations which detail every thought and move in Rafe's life.
The game that Rafe invented to break all the rules and the ways in which he broke them are delightfully imaginative, even though they sometimes border on dangerous, and inevitably, lead him to pay the consequences of his actions. Nevertheless, you will identify with him, probably remember with great clarity some of your most poignant moments in middle school, and you will undoubtedly laugh out loud with each page you turn.
The most tender and emotional moment in the book is the revealing of Rafe's mysterious friend, Leo. After laughing all through the book unil your sides hurt, this revelation will bring tears to your eyes.
Middle School: the Worst Years of My Life is one of the best kids' book I've ever read, one I will most probably read again, and one which I assure you should be on your list of 'next to buy.' You won't regret it...oh yes, and if you have a boy ( or girl) in or getting ready to go into middle school, be sure you let them read it, too!
Until next time,
That's a wrap.
Tuesday, August 23, 2011
Tuesday's Teaser: Create a Setting That's "In Character":Part One
What does the setting of your story say about the story itself, and more importantly, about your main character? Do you give much thought to the setting, or is it something that just "happens" as you go along?
Every character in your story lives, works, plays, cries, laughs, and thinks someplace. They don't just drift in and out of the story from out of the blue. Your MC doesn't live in some vague dimension where there is no sense of time, of space, atmosphere, or weather. She doesn't walk on air; she doesn't sit on nothing, and her five senses are not totally inactive for the length of your story.
Let's talk about those five senses first. As writers, we all rely heavily on sight, as that is our own human nature. When you use sight, what kind of description to you give? Let's say the MC is lost in the desert. Is that the end of it? Perhaps you give the desert a name, talk about her dragging through the heavy sand. For example:
She stood on top of the dune and scanned the desert. She was lost, and she had no idea what to do next. All around her was sand, nothing but hot, deep sand. She brushed at the tears on her cheeks, and stepped resolutely forward.
That give us sight, but nothing more. We don't see or hear or smell or feel the desert. What about this next example:
She stood on top of the dune and scanned the desert. There was nothing as far as she could see but the hot sand creating one mirage after another on the horizon. Overhead, the raucous cries of the turkey buzzards drifted down to her as they glided on the thermals in search of carrion. The slight breeze gifted her face with the red grit from the sand, and the unique odor of the creosote bushes was not one she could identify. A single tear crept down her cheek and kissed her lips with salt, before she brushed it away, and resolutely stepped forward into the deep sand.
Does this setting do more for the character? Do you get a sense of what SHE is feeling, seeing, hearing, smelling, and touching? Can you picture this location in your mind, and do so better than with the first example? If so, it is because this description uses all five senses, and it gives the reader two things: one is a true picture of the desert itself, and the other is a better understanding of the character. She is no longer one dimensional, but she hears and smells and feels and tastes as well as sees...just like we do.
Using all five senses is very important to your story and to your characters. All five don't have to be used in every scene, and shouldn't be or that would be a real "sensory overload," but they should be interspersed, one or two at a time, as your characters go along in their lives, just as they are in our lives.
There are other elements to setting besides the five senses. Time, place, location, weather, atmosphere, housing, transportation, life style, culture, art, even food and clothing are all a part of the setting. Not all of these are going to play a part in every story, of course, but you need to pick and choose which elements are going to be important enough for you to write about.
In fantasy and science fiction, writers seem to spend a great deal of time writing about their make-believe worlds. They go to great lengths to describe physical locations, castles, rocket ships, weird animals, electronic weapons and gadgetry...anything to make the reader "see" this new world the characters are romping around in.
Think about the Harry Potter novels. Weren't you able to "see" Hogwarts, and all of the characters in that first book long before the first movie came out? It was only because JK Rowlings spent a considerable amount of time in detailing the settings.
This should hold true for writers of contemporary fiction, too, but seldom does. Yet setting is one of the most important elements of any story, regardless of genre or time era. How do you react to your environment? Do you act differently, feel differently, when you are in a familiar place versus somewhere strange you've never been before? Are you more observant of the places you are unfamiliar with than the ones you've grown up in? That is human nature, so it should be "in character" for our stories, too.
We'll talk about characters and settings in Part 2 of this theme. Stay tuned, hopefully I will be bringing you something new to think about!
Until next time,
That's a wrap.
Every character in your story lives, works, plays, cries, laughs, and thinks someplace. They don't just drift in and out of the story from out of the blue. Your MC doesn't live in some vague dimension where there is no sense of time, of space, atmosphere, or weather. She doesn't walk on air; she doesn't sit on nothing, and her five senses are not totally inactive for the length of your story.
Let's talk about those five senses first. As writers, we all rely heavily on sight, as that is our own human nature. When you use sight, what kind of description to you give? Let's say the MC is lost in the desert. Is that the end of it? Perhaps you give the desert a name, talk about her dragging through the heavy sand. For example:
She stood on top of the dune and scanned the desert. She was lost, and she had no idea what to do next. All around her was sand, nothing but hot, deep sand. She brushed at the tears on her cheeks, and stepped resolutely forward.
That give us sight, but nothing more. We don't see or hear or smell or feel the desert. What about this next example:
She stood on top of the dune and scanned the desert. There was nothing as far as she could see but the hot sand creating one mirage after another on the horizon. Overhead, the raucous cries of the turkey buzzards drifted down to her as they glided on the thermals in search of carrion. The slight breeze gifted her face with the red grit from the sand, and the unique odor of the creosote bushes was not one she could identify. A single tear crept down her cheek and kissed her lips with salt, before she brushed it away, and resolutely stepped forward into the deep sand.
Does this setting do more for the character? Do you get a sense of what SHE is feeling, seeing, hearing, smelling, and touching? Can you picture this location in your mind, and do so better than with the first example? If so, it is because this description uses all five senses, and it gives the reader two things: one is a true picture of the desert itself, and the other is a better understanding of the character. She is no longer one dimensional, but she hears and smells and feels and tastes as well as sees...just like we do.
Using all five senses is very important to your story and to your characters. All five don't have to be used in every scene, and shouldn't be or that would be a real "sensory overload," but they should be interspersed, one or two at a time, as your characters go along in their lives, just as they are in our lives.
There are other elements to setting besides the five senses. Time, place, location, weather, atmosphere, housing, transportation, life style, culture, art, even food and clothing are all a part of the setting. Not all of these are going to play a part in every story, of course, but you need to pick and choose which elements are going to be important enough for you to write about.
In fantasy and science fiction, writers seem to spend a great deal of time writing about their make-believe worlds. They go to great lengths to describe physical locations, castles, rocket ships, weird animals, electronic weapons and gadgetry...anything to make the reader "see" this new world the characters are romping around in.
Think about the Harry Potter novels. Weren't you able to "see" Hogwarts, and all of the characters in that first book long before the first movie came out? It was only because JK Rowlings spent a considerable amount of time in detailing the settings.
This should hold true for writers of contemporary fiction, too, but seldom does. Yet setting is one of the most important elements of any story, regardless of genre or time era. How do you react to your environment? Do you act differently, feel differently, when you are in a familiar place versus somewhere strange you've never been before? Are you more observant of the places you are unfamiliar with than the ones you've grown up in? That is human nature, so it should be "in character" for our stories, too.
We'll talk about characters and settings in Part 2 of this theme. Stay tuned, hopefully I will be bringing you something new to think about!
Until next time,
That's a wrap.
Friday, August 19, 2011
Friday's Fare: Review of Theodore Boone: The Abduction
Theodore Boone: the Abduction is the second in John Grisham's series about a thirteen year-old boy-turned-lawyer...almost. Theo is the son of two attorneys and has grown up with the law. He fully expects to become a trial lawyer and then quite probably a famous judge when he is out of school. In the meantime, he tries dilegently to solve all the "legal" problems his friends and classmates have. He knows every attorney, law clerk, bailiff, and most of the judges in the town where he lives, and spends as much time as he can get away with in the courtroom when a trial is going on.
But all this knowledge doesn't help him one bit when his best friend, April Finnemore, disappears in the middle of the night. She is not the kind of kid to run away...the whole town agrees on this. But the house shows no signs of break-in, which means either she has run away, or she knows the person who took her, and let him in the house while she was alone.
Theo knows more about April than most anyone else: her father is an aging, wannabee rock star who is always off somewhere with the scudsy band he plays with, made up of other aging, drug-using wannabees who can't manage to score gigs in anything but seedy bars and run-down dance halls; her mother is very often not at home, as she wasn't on the night April went missing, she takes pills for everything that could possibly ail her, and April thinks she is losing her mind.
None of this matters when Jake Leeper appears on the scene. Jake is a convicted long-time criminal who has escaped from prison, and shows up in the small town of Strattenburg. When it comes to light that April had become his "pen pal" while he was in prison...why, no one knows...the police forget about anything but Jake and, when he is captured, making him tell them what he did to April. They are convinced he kidnapped her, but have no evidence of any kind to back that assumption up.
However, Theo is determined to find April himself, or find out what happened to her, so he and his next-best friend, Chase, take it upon themselves to, first of all, find April's father. Once again, Theo goes to his Uncle Ike for help. Ike has gotten a note from someone who claims the band April's father is in, Plunder, is down in Raleigh, North Carolina, playing in bad bars and for college frat houses.
Theo and Chase begin tracking down all the fraternities and sororities in North Carolina on the Internet, calling the most likely ones, and finally track Plunder down to one location. Through much subterfuge and not-quite-little-white-lies, Theo gets Ike to "borrow" one of the family cars, while Theo's parents are out of town, and the two of them race to North Carolina, find the fraternity where the band is, find April who has run away, all right, but with her father and without her mother's knowledge, and bring April home.
To wind the story up: Jake Leeper is returned to prison, April's father and mother both promise to enter counseling and rehab, Theo's mother becomes April's temporary guardian until something either positive or negative happens with her family, and Theo is once again the hero of the day for finding April.
Okay. Once again Grisham has failed to write a convincing Middle Grade novel. Kids may like it, that's true, but from my perspective as a Middle Grade author, it fails miserably in many ways. Theo relies too heavily upon adults to help him, either with the solution to the problem, or help in carrying out the solution. His parents, Ike, and of course, Judge Gantry, are always heavily endowed as secondary characters.
The story drags. There is far too much dialogue that doesn't go anywhere, and that is more often between the adults in the story than between Theo and any other kid. There are pages and pages devoted to the police detectives, Slater and Capshaw, and their interrogations of Jake Leeper, and in which there is no Theo to be seen or heard from. Chapter Seven, for example, is a 10 and 1/2 page chapter that is devoted almost entirely to an interrogation of Leeper, with only the first 3 1/2 pages having anything to do with Theo, and in that, no action, no dialogue, just narration.
All in all, this story bored me as much as the first one. There is no real mystery, no danger, no excitement, and certainly NO suspense, because the reader already knows that Theo is going to save the day, BUT with the help of the adults.
Most people reading this, after reading the first in the series, Theodore Boone: Kid Lawyer, would have assumed ( at least, I did) that it was a sequel to the first, but it's not. However, on the very last page, a reference was made to the first story, wherein a murder trial ended in a mistrial, again thanks to Theo with the help of adults. This time, Theo's friend, Judge Gantry, told him that a new trial had been set for Pete Duffy ( the defendent in the first story). So obviously, there will be a third book in this series.
Mr. Grisham, you have once again disappointed me. I DO wish you would read up on middle grade stories by "real" middle grade authors! I'm not at all sure I will be reading anything more about Theodore Boone. I LOVE your books...but only when they are for adult readers.
Until next time,
That's a wrap.
But all this knowledge doesn't help him one bit when his best friend, April Finnemore, disappears in the middle of the night. She is not the kind of kid to run away...the whole town agrees on this. But the house shows no signs of break-in, which means either she has run away, or she knows the person who took her, and let him in the house while she was alone.
Theo knows more about April than most anyone else: her father is an aging, wannabee rock star who is always off somewhere with the scudsy band he plays with, made up of other aging, drug-using wannabees who can't manage to score gigs in anything but seedy bars and run-down dance halls; her mother is very often not at home, as she wasn't on the night April went missing, she takes pills for everything that could possibly ail her, and April thinks she is losing her mind.
None of this matters when Jake Leeper appears on the scene. Jake is a convicted long-time criminal who has escaped from prison, and shows up in the small town of Strattenburg. When it comes to light that April had become his "pen pal" while he was in prison...why, no one knows...the police forget about anything but Jake and, when he is captured, making him tell them what he did to April. They are convinced he kidnapped her, but have no evidence of any kind to back that assumption up.
However, Theo is determined to find April himself, or find out what happened to her, so he and his next-best friend, Chase, take it upon themselves to, first of all, find April's father. Once again, Theo goes to his Uncle Ike for help. Ike has gotten a note from someone who claims the band April's father is in, Plunder, is down in Raleigh, North Carolina, playing in bad bars and for college frat houses.
Theo and Chase begin tracking down all the fraternities and sororities in North Carolina on the Internet, calling the most likely ones, and finally track Plunder down to one location. Through much subterfuge and not-quite-little-white-lies, Theo gets Ike to "borrow" one of the family cars, while Theo's parents are out of town, and the two of them race to North Carolina, find the fraternity where the band is, find April who has run away, all right, but with her father and without her mother's knowledge, and bring April home.
To wind the story up: Jake Leeper is returned to prison, April's father and mother both promise to enter counseling and rehab, Theo's mother becomes April's temporary guardian until something either positive or negative happens with her family, and Theo is once again the hero of the day for finding April.
Okay. Once again Grisham has failed to write a convincing Middle Grade novel. Kids may like it, that's true, but from my perspective as a Middle Grade author, it fails miserably in many ways. Theo relies too heavily upon adults to help him, either with the solution to the problem, or help in carrying out the solution. His parents, Ike, and of course, Judge Gantry, are always heavily endowed as secondary characters.
The story drags. There is far too much dialogue that doesn't go anywhere, and that is more often between the adults in the story than between Theo and any other kid. There are pages and pages devoted to the police detectives, Slater and Capshaw, and their interrogations of Jake Leeper, and in which there is no Theo to be seen or heard from. Chapter Seven, for example, is a 10 and 1/2 page chapter that is devoted almost entirely to an interrogation of Leeper, with only the first 3 1/2 pages having anything to do with Theo, and in that, no action, no dialogue, just narration.
All in all, this story bored me as much as the first one. There is no real mystery, no danger, no excitement, and certainly NO suspense, because the reader already knows that Theo is going to save the day, BUT with the help of the adults.
Most people reading this, after reading the first in the series, Theodore Boone: Kid Lawyer, would have assumed ( at least, I did) that it was a sequel to the first, but it's not. However, on the very last page, a reference was made to the first story, wherein a murder trial ended in a mistrial, again thanks to Theo with the help of adults. This time, Theo's friend, Judge Gantry, told him that a new trial had been set for Pete Duffy ( the defendent in the first story). So obviously, there will be a third book in this series.
Mr. Grisham, you have once again disappointed me. I DO wish you would read up on middle grade stories by "real" middle grade authors! I'm not at all sure I will be reading anything more about Theodore Boone. I LOVE your books...but only when they are for adult readers.
Until next time,
That's a wrap.
Tuesday, August 16, 2011
Tuesday's Teaser: Journey Into Writing: The Middle
How did you begin your writing career? Was writing a passion from childhood or teen years on? Or did you take it up later in life, as I did?
I've always loved to write, and in an earlier post described that beginning, but then I seemed to take a whole "lifetime" off before I began seriously again.
In July, 2006, I signed up for my first Institute of Children's Literature course, and had a wonderful instructor. The course was terrific, and I learned so much that I didn't know I didn't know! For my first non-fiction assignment, I decided to write a "creative" NF piece about a small part of the Amazon Rainforest. My instructor was very impressed, and told me I should start thinking about writing a NF article for publication. Publication? So soon? I was amazed that she thought I could actually write something publishable after being in the course for only a short time.
I was encouraged, however, so I started looking through guidelines for some of the children's magazines. Nothing came of that effort at the time, however, as I got caught up in the next assignments. When my second NF asignment came up, I went back to the guidelines and saw that a future issue of ODYSSEY was going to be about...get this...POOP! Yes, that's right, all about POOP. The first thing that came to my mind was, of course, horse manure...er, poop...and that brought to mind dung beetles. We had dung beetles all over our ranch because they ate the horse poop. So I wrote my assignment about dung beetles ( you have no idea how many different kinds of dung beetles there are...each type eats only a certain kind of poop...and that's probably more than you ever wanted to know about poop and beetles, right?)
Okay, to get back to the point: I wrote the assignment, my instructor made a very observations, and wanted me to make it more factual rather than "creative." I worked on it aside from the assignment, and in doing some Internet research, I came across a great article by an Entymologist from the University of Montana. I decided to send him an email, tell him who I was and what I was doing, and see if he would give me an interview. I figured the worst that could happen was for him to delete the email. But he didn't...he replied, asked me to send him my article and he'd critique it. I did, he was impressed, gave me an interview, and the article was published in the POOP! issue of ODYSSEY magazine. My first publication! I was thrilled!
When I completed the first ICL course, my instructor recommended that I take the Advanced Novel Writing course. I not only took one, and completed a contemporary novel for Middle Grade girls, but I took a second course, and completed an Historical Fiction taking place in pre-Civil War days for YA boys age 12 to 14. Neither of them has been published yet, but I'm confident that I will find the right agent or publisher in time. Hopefully.
In the meantime, however, I've published several short stories, including one in a children's anthology, and some poetry. The poetry is for adults, however, not for children.
Now, I have a couple of stories that I'm ready to send out, and I'm working on two new novels: one is another historical story, about a traveling carnival, a freak show, a disfigured MC, and a murder, all taking place during the Great Depression; the second is also a murder mystery, but it is a much darker story, taking place in modern times. Both are Young Adult.
My story has come to an end, but not my journey. It continues, for giving up is not an option. This is a road not less traveled, but well traveled, with all the accompanying twists, turns, detours, dead-ends, and potholes, but nevertheless, one which I believe will ultimately lead to my destination.
Are you traveling it with me?
Until next time,
That's a wrap.
I've always loved to write, and in an earlier post described that beginning, but then I seemed to take a whole "lifetime" off before I began seriously again.
In July, 2006, I signed up for my first Institute of Children's Literature course, and had a wonderful instructor. The course was terrific, and I learned so much that I didn't know I didn't know! For my first non-fiction assignment, I decided to write a "creative" NF piece about a small part of the Amazon Rainforest. My instructor was very impressed, and told me I should start thinking about writing a NF article for publication. Publication? So soon? I was amazed that she thought I could actually write something publishable after being in the course for only a short time.
I was encouraged, however, so I started looking through guidelines for some of the children's magazines. Nothing came of that effort at the time, however, as I got caught up in the next assignments. When my second NF asignment came up, I went back to the guidelines and saw that a future issue of ODYSSEY was going to be about...get this...POOP! Yes, that's right, all about POOP. The first thing that came to my mind was, of course, horse manure...er, poop...and that brought to mind dung beetles. We had dung beetles all over our ranch because they ate the horse poop. So I wrote my assignment about dung beetles ( you have no idea how many different kinds of dung beetles there are...each type eats only a certain kind of poop...and that's probably more than you ever wanted to know about poop and beetles, right?)
Okay, to get back to the point: I wrote the assignment, my instructor made a very observations, and wanted me to make it more factual rather than "creative." I worked on it aside from the assignment, and in doing some Internet research, I came across a great article by an Entymologist from the University of Montana. I decided to send him an email, tell him who I was and what I was doing, and see if he would give me an interview. I figured the worst that could happen was for him to delete the email. But he didn't...he replied, asked me to send him my article and he'd critique it. I did, he was impressed, gave me an interview, and the article was published in the POOP! issue of ODYSSEY magazine. My first publication! I was thrilled!
When I completed the first ICL course, my instructor recommended that I take the Advanced Novel Writing course. I not only took one, and completed a contemporary novel for Middle Grade girls, but I took a second course, and completed an Historical Fiction taking place in pre-Civil War days for YA boys age 12 to 14. Neither of them has been published yet, but I'm confident that I will find the right agent or publisher in time. Hopefully.
In the meantime, however, I've published several short stories, including one in a children's anthology, and some poetry. The poetry is for adults, however, not for children.
Now, I have a couple of stories that I'm ready to send out, and I'm working on two new novels: one is another historical story, about a traveling carnival, a freak show, a disfigured MC, and a murder, all taking place during the Great Depression; the second is also a murder mystery, but it is a much darker story, taking place in modern times. Both are Young Adult.
My story has come to an end, but not my journey. It continues, for giving up is not an option. This is a road not less traveled, but well traveled, with all the accompanying twists, turns, detours, dead-ends, and potholes, but nevertheless, one which I believe will ultimately lead to my destination.
Are you traveling it with me?
Until next time,
That's a wrap.
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