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A week or so ago, I blogged about having found a couple of new critique partners. Well, I’m still slogging–somewhat painfully–through one of the critiques. Why? Well, there are a couple of reasons.

For one thing, whenever there are several comments on every page, at some point it all just becomes white noise. Some of those comments are valuable, but it takes a lot of work ot separate the diamonds from the dross.

I’m reminded of Orson Scott Card’s “wise reader” questions–So what? (“That was boring.”), Say what? (“I didn’t understand that.”) And Huh?! (“I don’t believe that.”) Those are the most important questions a reader/critiquer can answer. Of course, it’s always really nice to know when something works well, too.

Too many of those comments I’m skipping over are of the form “I think this would sound better . . .” which is basically an attempt to rewrite my prose. That’s a no, no. In fact, in at least one writers’ group to which I belong, Hatrack River Writers Workshop, it’s specifically forbidden.

Point out writerly tics, certainly. Typos and repetition of words that cause a kind of echo are fair game, too. But, well, there’s a line that can be crossed.

On a completely different subject, I found an ebook of all fourteen of L. Frank Baum’s Oz stories cheap on Amazon. If that doesn’t help jog my inspiration for that story, I don’t know what will.

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There are a couple of reasons why I want to talk about first-person point of view today.

The first is that my Weird Oz Story is my first attempt at novel-length first person point of view. I don’t actually think that’s why I’m stuck on that one–at least not directly.

I’ve written a couple of short stories (novelettes, really)–“Heart of Oak” and “Becoming Lioness”–in first person, but never a novel. There’s a reason for that. The shorter stories could be told from a single point of view. “Heart of Oak” really had to be told in first person, so much of that story was internal. And I just started hearing “Becoming Lioness” in first person in my head–after the first draft had already been written–and I decided to go with it.

The main reason I’ve never written a novel in first person is that I usually write from more than one point of view. (MAGE STORM being the only completed exception to date.) In my young adult stories, specifically, I usually write at least from the points of view of the girl and her love interest. Sometimes, the antagonist, too. That’s hard to do in first person.

I’ve read several published novels with more than one first-person point of view character and almost universally I’ve been struck by one thing–all the characters sound the same. They don’t have individual voices that distinguish them from each other, sometimes even when the characters have wildly different backgrounds. They should speak and think differently from each other, but I have to check the top of the page to know which character is using the pronoun “I” in a particular chapter.

I don’t want to write like that, so for now I’m sticking with a (hopefully) invisible third-person narrator when I have more than one point of view character.

On a brighter note, I have finally read a story in which multiple first-person point of view characters actually sound like different characters. It’s Alchemy, by some fellow writers I “know” from Hatrack River Writers Workshop. That seems to be at least one key to doing this right–three different writers each writing a different character. It’s a really, really good story and only $0.99. You should check it out.

In other news, the Chimeria Omnibus edition (containing both BLOOD WILL TELL and BLOOD IS THICKER) is now available just about everywhere. For a limited time (but probably at least through Christmas), it’s the same price as either book alone.

http://www.dreamstime.com/-image10567743

Also, another chapter of BLOOD IS THICKER is available free on wattpad.

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So, I decided to make progress in another direction. The CHIMERIA OMNIBUS–both BLOOD WILL TELL and BLOOD IS THICKER in one e-volume–is now live.

http://www.dreamstime.com/-image10567743

For a limited time, the omnibus edition is the same price as either book alone. Two for the price of one. Such a deal.

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Time to confront the truth. I’m stuck on my Weird Oz Story. I can–and probably will–finish Chapter 10. After that, I just can’t see my way ahead. I know where the story needs to end, but I don’t see how I get there.

I’ve only been in this place with a story once before. That was SEVEN STARS, the original version of FIRE AND EARTH. The reason then was that I had just gotten the story wrong. (In retrospect, it was a real stinker, too.) I wasn’t able to move ahead and produce a story I liked until I took a step back and reimagined it. A lot of things about that story changed when I did that, but it ended up so much better. That, after all, is the goal–a great story, well-told.

Fire And Earth Cover (Provisional)

So, I’m going to have to take a step back and try to reimagine my Weird Oz Story. Let my subconscious play with it and see what ideas float up out of the depths. I suspect part of the problem was with the initial idea–throwing my Dorothy into Oz alone.  One character by herself can only stay interesting for so long. Chapters 9 and 10 were about getting her some company, but I think it’s just too late. The point was to force her to take charge, but I just don’t thnk it’s working.

Meanwhile, for now, I’ll be doing some revisions to DESERT ROSE (formerly MAGIC AND POWER) and probably working on revisions to the rewrite of THE SHAMAN’S CURSE. That’s the great thing about multiple projects: you never have to be idle.

In other news, I’m getting antsy, so I’ll likely move the publication of the combined edition of BLOOD WILL TELL and BLOOD IS THICKER up to next weekend (about ten days earlier than planned.)

http://www.dreamstime.com/-image10567743

Meanwhile, another chapter of BLOOD IS THICKER is available free on wattpad. Or, you could just buy it and get the whole story all at once.

Blood Is Thicker Cover

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I’m taking a brief break from my Weird Oz Story to work through some of the critiques I’ve received on DESERT ROSE (formerly known as MAGIC AND POWER).

I’ve said before, but it bears repeating, that nothing will improve writing faster than giving and receiving critiques. Getting feedback on what works and what doesn’t, what’s missing or too thin (like description) or where you’ve taken something maybe a touch too far is invaluable. Doing critiques is at least as valuable. Sometimes, it’s just easier to see issues in someone else’s writing than in your own.

Now, I have a usual group of critique partners–the Pied Pipers (see sidebar)–but recently quite a few of our members have had to take time away because of real life. Others have drifted away for other reasons. (By the way, if you write young adult fantasy or science fiction, do check out the Pied Pipers on David Farland’s Writers’ Groups. We’re open to new members.) So, for DESERT ROSE I branched out and looked for a couple of new critique partners.

That’s made me realize something. See, the Pied Pipers have been exchanging critiques for a couple of years now. We know each others’ writing styles and the kinds of stories we tend to tell. Nothing wrong with that. In fact, in some ways it’s an advantage. But there’s something else to be learned from people who are reading one of my stories for the first time. My new critique partners are looking at and seeing different things.

It’s exciting and I think it’s already made my writing better on DESERT ROSE (and I’m only on Chapter 3 of the critiques.) So, if you’re reading this (and you know who you are), thank you.

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Story ideas need time to ferment and grow. That’s just one reason why it’s not recommended to follow the newest shiniest idea right away. It needs time to germinate and build–usually in the subconscious.

The idea for my Weird Oz Story started a year ago, but I’m starting to question whether it’s really quite ripe yet.

On the other hand, Adventures in YA Publishing this week reminded me of something else:

“E.L. Doctorow said once said that ‘Writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way.’ You don’t have to see where you’re going, you don’t have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you. This is right up there with the best advice on writing, or life, I have ever heard.” 

That’s just about as far ahead as I can see right now–if I drive really slowly. Usually, that’s enough for me.
 
So, I’m not ready to give up and put this away for a while yet. However, I am likely to start splitting my writing time. Maybe start working on some revisions.  That might be just a bit tricky, because I’ll be switching between third-person narrative and first-person, but I think I’m up to the challenge. And if I’m not, maybe I need the practice.
 
Hmm. I haven’t read BIRD BY BIRD yet, but it’s been on my list for a while. Maybe I need to move it up.
 
In other news: Another new chapter of BLOOD IS THICKER is up on wattpad.
Or, of course, you could just buy it for $2.99 and read it all without waiting a week between chapters.
Blood Is Thicker Cover
 
If you haven’t read BLOOD WILL TELL yet, the promotional combined edition will be out in just a couple of weeks.
http://www.dreamstime.com/-image10567743

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It hasn’t exactly broken the log jam, but stopping for a couple of days to begin reading David Farland’s MILLION DOLLAR OUTLINES in hopes of finding a way to get my Weird Oz Story flowing has helped some. It gave me the chance to see one of the problems I was struggling against–and how to at least ease it a bit.

See, I threw my character into the Jurassic Park version of Oz all by herself. Well, except for a dangerous-looking animal that keeps following her around. I want to throw her in the deep end and force her to start swimming–start figuring out how to avoid trouble or deal with it. Fine. But having only one character in a strange landscape can only work for so long. At some point, she needs other characters to talk to, work with, argue with. You know, engage.

I think I’ve about pushed the limit of how long I can keep her isolated. I need to move up the point at which she gets some allies and maybe a contagonist, someone who wants to pull her off in another direction. Time for some interaction.

Meanwhile, I’ll keep reading MILLION DOLLAR OUTLINES. And explore my stack of ideas for what might be my next project.

Here’s to occasionally taking a step back to get a better look at the whole.

 

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I’ve mentioned before that I’m a discovery writer. Actually, I consider myself a modified discovery writer. Modified because I did once manage to write 100,000 words that didn’t come out to be a story. (I’m embarrassed to admit how many tries it took me to figure out why it wasn’t a story and fix it.) So, now I like to have at least a few stops along the way to my destination.

I’ve heard the idea floated that even those of us who claim to write by the seat of our pants are actually outlining; we’re just doing it in our heads instead of on paper. I think there’s something to that. Of course, if we’re holding the outline in our heads, it’s not as detailed or extensive as some of those written out. And it’s also more subject to change. That’s just the nature of the two methods.

I tried outlining a couple of times early on. Once, I spent way too much time revising the outline–time I could have been spending on writing the story. The other time, I wrote the outline and then never looked at it again. I think the story diverged from the outline in the first five chapters and never came back again. I haven’t made a serious attempt at outlining since.

However, every story is different. And even I–confirmed discovery writer that I am–am starting to think about outlining. I’m still only on chapter 7 of my “Weird Oz Story” and that’s partly because the story is just developing that slowly in my head.

So, maybe it’s time to drop back and punt. Open that copy of David Farland’s MILLION DOLLAR OUTLINES on my kindle, and try a different method. Maybe this is a story I need to outline. Learning a different way is always good, even if I never use it again.

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I had to get up in the wee hours this morning to make a couple of notes on my Weird Oz Story so I wouldn’t lose them. That’s actually good.

The times and places where ideas strike can seem strange. In the shower, washing the dishes, walking the dogs. A big one for me seems to be driving. That’s when the idea for my Weird Oz Story first came to me. Waking up with an idea is another good one. These are the times when my subconscious throws up the new ideas and solutions to plot problems that fuel (and sometimes) fix my stories. For me, these ideas will only turn up, though, when I’m actually spending some part of my day writing. If I’m not doing that, I can walk the dogs all day without turning up any ideas.

I learned some time ago to take inspiration when it comes and always write it down (or record it in some way) as fast as I can so I don’t lose it. I can always decide whether or not to use it later, but only if I remember what it is.

Last night, among other things, I think my subconscious gave me a piece of the puzzle. Maybe one of the things that’s been holding me back from making better progress on this story. Here’s hoping.

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Last Sunday, I posted about how much trouble I was having starting my Weird Oz Story (real title to be determined). Well, I’m still not exactly burning rubber but I think I am beginning to build momentum. I think it’s clear that this is just going to be one of those stories that takes a little longer, for whatever reason.

That happens. Every story is different. BLOOD WILL TELL just poured out of me in about a month. THE BARD’S GIFT took about six months to write. Most stories fall somewhere in the middle. Just because one story is slow coming out doesn’t necessarily mean anything is wrong. Some stories are just like that. And you can’t really rush the ones that want to be slow and steady.

Some, like BLOOD WILL TELL, appear fully formed like Athena in my head and all I have to do is open the floodgates and let them out. That’s a wild roller coaster ride when it happens, but they’re not all that way. Sometimes I just have to let a story take a little more time.

It also doesn’t mean that I should worry about my productivity. It bears remembering that this is actually my third project for this year–so far, not counting  revisions.

  1. I completed MAGIC AND POWER (likely to be retitled DESERT ROSE) earlier this year. That’s the one that was supposed to be only a novelette or novella, but turned out at 85,000 words.
  2. I completed a rewrite of one of my earliest novels, THE SHAMAN’S CURSE. It still needs work, of course, but that’s what revisions are for.
  3. And now I’m working on Weird Oz.

Well, that’s still pretty darn good for a single year, especially when you add a revision/partial rewrite of MAGE STORM and the revisions to BLOOD IS THICKER to get it ready for launch next month.

Note: A new chapter of BLOOD IS THICKER is now available on wattpad (or you could just buy the whole thing.)

Blood Is Thicker Cover

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