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Posts Tagged ‘inspiration’

I’ve got a little light back in this room. Amazing how much that helps. Later, I’ll be going out to trim some more of that bishop’s cap vine back.

What’s helped even more is actually getting back to some writing. I’ve been doing revisions for a while now. Not that I mind revisions, but it’s not the same as the highs–and sometimes lows–of writing a first draft.

I was supposed to be doing the first draft of Weird Oz. (If I’m not careful, that title is going to stick.) But that story just wasn’t working out–yet. So, I looked back in my files and pulled out another oldie, DREAMER’S ROSE, and, wonder of wonder, words started to flow again.

It’s not exactly a first draft, but DREAMER’S ROSE is going to need a complete rewrite. In fact, I now suspect that I will only be rewriting the first part of the story. After that, I think it’s going to go off in an entirely new direction–the re-imagining that this story needed.

In its inspiration, DREAMER’S ROSE is a mash-up of the Hercules legend (turned on its head) and the fairy tale “Toads and Diamonds”. The Rose of the title has sort of the same function as a compass, but for people who are lost in their dreams rather than in reality–a compass rose for dreamers.

English: First compass rose depicted on a map,...

English: First compass rose depicted on a map, detail from the Catalan Atlas (1375), attributed to cartographer Abraham Cresques of Majorca. (Photo credit: Wikipedia)

 However, this new version of the story is probably going to be much more focused on the dreamer than on Rose.

Ah, it feels good to be writing again.

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I’ve had the opportunity to have a couple of people who are very good at seeing the big picture take a look at the beginning of my Weird Oz Story. With their help, I’m beginning to get a clearer picture of what went wrong and how to fix it.

This story started when I’d read one too many novels in a row that featured a supposed female protagonist who sat around and waited for some guy to show them what to do. If you haven’t noticed already, that’s a really, really big pet peeve of mine. So, I thought of dropping a new “Dorothy” into a much more dangerous Oz–basically, the Jurassic Park version of Oz.

But it’s not working. I knew that, though I was too close to it to really figure out why. Now I’m starting to get feedback that helps me to understand why.

  1. In the interests of having my “Dorothy” make her own choices, even in a strange and unfamiliar world, I set her down alone. That won’t work. L. Frank Baum introduced Dorothy’s first companion, the Scarecrow, in Chapter 3. My character needs someone to talk to, someone to help her recognize the “she’s not in Kansas anymore” sooner. But not somebody to take over and tell her what to do. Most of all, another character who can provide some additional conflict. I’m working on an appropriate character for this–something or someone a bit ADHD who will be as much a hindrance as a help–more conflict. 
scanned from 1900 Wizard of Oz book

scanned from 1900 Wizard of Oz book (Photo credit: Wikipedia)

  1. The first few chapters were a bit too frenetic. The whole novel can’t be just bouncing from one threat to the next. There has to be time to lay plans, reconnoiter, and take deliberate action. There have to be try/fail cycles in which “Dorothy” fails before she finds her way out. I have to throw enough at her to make it clear she’s in trouble, but I also need to pace it better.
  2. Writing it in first-person is turning out to be somewhat problematic for two reasons. The longer it takes to convince “Dorothy” that this really is Oz, the longer I’m actually shutting the reader out of the truth, too. Because the reader has to experience everything through “Dorothy” in first person, even while “Dorothy” is in denial. Also, I haven’t really hit on a likeable voice for “Dorothy”, probably partly because of her denial. I haven’t made a decision on this yet. There may be a way I can fix “Dorothy’s” voice. On the other hand, third person frees me to let the reader in on things Dorothy hasn’t figured out yet and, if I want, even to jump to another character for a chapter. That might be the deciding factor.

At any rate, I’m getting closer to getting back to this story.

 

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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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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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Did you ever notice that the middle book (or movie) in a series is usually the least exciting? It just feels like there’s something missing. I have a theory about that.

This applies to all lengths of series in which there’s some overall conflict tying the whole series together, but, for the sake of brevity, let’s use the trilogy.

In the first book, we, as readers, meet the characters for the first time. We “see” the setting for the first time. Hopefully (so that we’ll want to continue the series) we fall in love. If it’s a fantasy, we also learn about the magic system, about any strange and wonderful creatures that inhabit this world. It’s all new and sparkling and full of wonder.

In the third book, we have the big bang, the ultimate confrontation between the hero and the villain. The villain gets his come-uppance. The hero emerges victorious. We get the resolution, the satisfaction, of finding out how the story ends.

The poor middle book doesn’t have either one of these. Hopefully, it’s at least a decent story in its own right, but not always. I’ve read series in which the middle book doesn’t even come out to a story, in the sense of having a smaller problem recognized in the beginning and resolved at the end. It’s just a bridge between the first and third books. I have to really love the characters to want to come back for more in those cases.

This is something I’m really struggling with right now with BLOOD IS THICKER, which is the middle book of my CHIMERIA trilogy. The three books are each meant to stand alone, but they also build on each other and there is something of an overarching problem. BLOOD IS THICKER suffers from middle-book syndrome. And I’m not quite sure how to fix it. Yet.

Now, I want to mention one series that spectacularly beat the middle-book blues–J. K. Rowling’s HARRY POTTER series. And I think I know why. She parcels out that sense of wonder all through the books, especially the early ones. In SORCERER’S STONE we learn about the wizarding world, Diagon Alley, Hogwarts, Quidditch, baby dragons, unicorns, and centaurs. But in CHAMBER OF SECRETS we get the flying car, the whomping willow, giant spiders, a “talking” diary, a phoenix, and the basilisk. In PRISONER OF AZKABAN we get dementors, hippogriffs, werewolves, time-turners, the Marauders’ Map, and the patronus charm. Do I even have to go into GOBLET OF FIRE?

Now, if I could just figure out how to apply that to BLOOD IS THICKER. I think I have a better chance with the sequels to MAGE STORM.

Also, new chapters of FIRE AND EARTH and BLOOD WILL TELL are available on wattpad.

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Only two chapters left to go in the current WIP, MAGIC AND POWER. My fingers are starting to get itchy to type that magical “The End”. That never gets old.

Last week I posted a few possibilities for what I might work on next. My terrific critique partner, Donna (whose debut novel A CHANGE OF PLANS comes out the first week in June. Trust me, you want to read this. I’ll be reviewing it here on June 5th to convince you of that) commented her preference for my “weird Oz story.”

What I’ll actually work on next will be some revisions. I’ve got a sequel to BLOOD WILL TELL that needs at least one more pass. My middle grade fantasy adventure, MAGE STORM, goes out to my critique group in June, and by then MAGIC AND POWER may have rested long enough to start the second draft.

However, while I’m doing all of that, I’ll be working on some of the development of my “weird Oz story.” I keep putting that in quotes because, while Oz is part of the inspiration for this story, the actual story may not have much or anything recognizable to do with Oz.

This story got started when I was frustrated. I’d read one too many stories in which the female protagonist sat around an waited for some guy to show her what to do. This earns a throw-the-book-against-the-wall reaction from me. So, I was thinking about under what circumstances it would be okay for the female main character to need this kind of help.

One thing that came to mind was dropping my “Dorothy” into Oz–a world in which all the rules are different than the ones she knows. In that case, she might need someone to get her out of the results of an honest mistake–once or twice. After that, she’d better be smart enough to either keep herself out of trouble or learn to deal with it herself.

So, Oz. But this version won’t have Munchkinland or even a Wicked Witch. What it will have are a lot of folk tale elements turned on their heads. What you think would be cute and fuzzy and safe, will be the most dangerous. And things that look spooky, might just be the only things you can trust.

Before I can start, though, I need to decide what kind of story this will be. Will it just be about “Dorothy” (that probably won’t actually be her name) getting home, like “The Wizard of Oz”? Or will it be about something bigger? And if so, what?

As always, new chapters of FIRE AND EARTH and BLOOD WILL TELL are available on wattpad.

And, before I close,

Happy Memorial Day

My father.

My father.

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Yesterday was my chain mail class. This was a first-time, experimental class for just about everyone, including the instructor. It was also a very small class–all of five of us, including the instructor and one participant who already does chain mail.

I did not come away with a chain mail bracelet–but I know how to make one, if I want to, now. I did come away with samples I made of three different weaves, hands-on experience (which is what I really went for), and an appreciation of the craft.

We worked with soft aluminum wire (which you can actually manipulate without recourse to pliers). I can only imagine trying to do the same thing with steel or iron rings–and then having to either rivet or forge-weld the links in order to strengthen the mail. I’ve decided if I ever do write a character who makes chain mail, he’s going to be an alcoholic. Straight from his workshop to the nearest alehouse. He’ll need a drink–or several–after a day of working on some of the more difficult weaves (which I haven’t even attempted yet).

Yes, I said yet. I do think this could be a fun craft to play around with. It turns out there are a lot of things you can do with chain mail techniques short of attempting a mail shirt. Bracelets. Chains. Pendants. Even Christmas ornaments and candle holders.  There are even kits you can buy, which could be an effective way to learn some of the techniques. There was even a sample of a banner in European four-in-one pattern using different colored wires to depict a dragon. I do cross-stitch patterns. I could make my own chain mail patterns, too.

Mail

Mail (Photo credit: awrose)

But first, I’ve got to get back to finishing THE BARD’S GIFT. I want it ready to start querying next month. I only have the polishing edit to go. Oh, and I’m trying to draw a map of Greenland, Iceland, Baffin Island, Newfoundland, and part of the Saint Lawrence River. We’ll see how that goes. With my drawing skills, I’d probably be better off practicing chain mail.

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Well, the truth is, they come from all over, all the time. Some examples:

THE BARD’S GIFT:

I belong to a couple of online writers’ forums. On one of them, Hatrack River Writers Workshop, members will occasionally post challenges. You don’t win anything when you win a challenge, other than bragging rights. The real point is the feedback, because one of the rules is always that all the entrants have to comment on each others’ work or be disqualified. Sometimes, these challenges center around a prompt. It’s fascinating to see how many different stories can be created from the same prompt. The problem for me is usually the relatively small word count allowed.

Well, one of these prompts was “Slave to the flame” and a story came to me about a little dragon that was the first to figure out how to breathe fire. I wrote it as a fable. It also ended badly, partly because of the prompt, but also partly because I didn’t have enough room to develop it further. When the challenge was over, I had no idea what to do with that story. Eventually, I wrote another story around it (also called “The Bard’s Gift”), about the girl who was telling this fable and why.

And then I started wondering other things about this girl. How did she come to be in that position? Why did she have this gift for telling stories? Where were they? This led to a lot of research and eventually an 80,000-word alternate history that includes dragons (but not the same ones in the original story), Norse gods, and thunderbirds. The short story “The Bard’s Gift” is now Chapter 35 of the novel, THE BARD’S GIFT.

MAGE STORM:

There’s a similar story to MAGE STORM. It also started as a response to a challenge on Hatrack, this time the prompt was the title of a Writer’s of the Future winning story “Cinders of the Great War”. That gave me an idea about the aftermath of a war in which all the mages had destroyed each other.  That short story, “Infected With Magic” (I had to change the title because Writers of the Future has to be anonymous) got an Honorable Mention in Writers of the Future.

I still have never found what I consider a satisfying ending to that story, though. It always felt like the beginning of something bigger. And so it was, a middle grade adventure fantasy MAGE STORM. I mean to get back to my latest revision to this story again soon and get it back out there.

UNTITLED:

But not all ideas come from writing prompts. Some come from news stories or photographs that send my imagination flying. One particular idea that isn’t quite ripe yet, came from me just wondering.

At the time, I’d recently read one too many stories in which the female protagonist did very little but wait around for some guy to take the lead and help her. I have an allergically strong reaction to those stories–as in pitch the book across the room strong. I’m okay with a female main character needing some help once, maybe twice. After that, she’d better either figure out how to keep herself out of trouble or how to deal with it herself.

So, as I was driving around running perfectly normal errands, I started wondering to myself: under what conditions would it be all right for a female protagonist to need some help? What if that character was dropped into a strange world (like Dorothy landing in Oz) and really has no way to know what’s dangerous and what’s not? What if, in this world, things that we tend to think of as sort of fuzzy, cute, and nice (unicorns, pixies, etc.) are really the most dangerous. And some things we think of as evil, the ones you’d want to avoid, are really the only ones that might help you? Okay, in that situation, Dorothy might need a little help to gether started.  Look for this story maybe this time next year.

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TheWorldBuildingBlogfest

Day 5 of the World Building Blog Fest hosted by Sharon Bayliss is an excerpt that illustrates world building. This was difficult. Hopefully the world building is sprinkled through the narrative as it becomes relevant, not all in one place. However, maybe this early meeting between Braggi (the Norse god of eloquence) and a thunderbird, guardian of the new land Braggi wants for his people, will give a taste.

Braggi turned slowly in place, taking in the beauty of his surroundings. He breathed in the smells of pine, earth, and water. Plenty of trees from which to build longhouses and ships–and fires to warm his people through the winter. A complete contrast to the steep, winter-ravaged slopes of Greenland. The great river was in some ways not unlike a very long, narrow fjord, but no great ice floes would block navigation for months or longer. The islands in the river would naturally contain the herds of sheep and cattle until fences could be built as well as providing pasture. This place was a perfect new home for his people, if they could secure it. That might not be so easy, which was why the other gods had chosen him–and his gift with words–for the job.

A shadow passed over him and he looked up. A huge bird-like form circled above him. Its wings were banded with colors reminiscent of Bifrost, the bridge from Asgard to Earth, but its long, naked tail reminded him more of the dragon, Fafnir. So this was a thunderbird.

Braggi composed himself as the bird, several times his own size, dove toward him, pulled up, and landed a few feet away. The beak opened, showing a human face inside. The feathered hide folded like a cape to reveal a human form. Finally, the man removed the bird’s head as if it were a hood. The man stood before him, holding the bird’s head under one arm like a helmet. He was tall, lean, and dark–dark skinned, dark-haired, and dark-eyed. Very different from Braggi’s own tall, massive, and blond people.

Braggi nodded in greeting. “Wakiya?”

The man nodded. “I am. And you are Braggi?”

“Yes.”

“You asked for this meeting. What is it you want of us?” Wakiya asked.

Braggi drew a deep breath. “I seek a place of safety where our people may thrive and outlast the coming cold.”

Wakiya’s eyebrows rose. “The cold will come here, too. What’s wrong with their own place?”

Braggi made a negating gesture with his hand. “They’ll starve if they stay where they are.”

Wakiya narrowed his eyes and looked into the east. “Some of my people are in that place, too. If they can survive its challenges, why not yours?”

“Our people have different ways than yours. The animals they depend on will die and then so will they.”

Wakiya turned to glare at Braggi. “Why must they come here?  Can they not return to their places of origin?”

Braggi shook his head. “These few are the last that are ours. Everywhere else, their kin have turned to the New God. They remember us only as figures in folklore. Haakon is almost the last who remembers the old worship–our worship. His people must survive.”

Wakiya paced a few steps. “I sympathize with your plight, but I must concern myself with my own people. Yours have come here to settle before–and killed mine before they were driven out. How would this time be different?”

That was the trouble. Rich as this land was, his people had never had a chance to really establish themselves here before the more numerous skraelings had driven them off. His Greenlanders were great fighters. If they could just get a foothold, they’d soon be secure against any attack. But, of course, Braggi couldn’t say that. He needed to soothe Wakiya’s fears, not intensify them. “That was generations ago. They have come and gone in peace since then. They trade now with those of your people who live near them, mostly in peace.”

Wakiya’s mouth twisted into a sneer. “Mostly?”

Braggi held out his hands, palm outward, in a placating gesture. “Even brothers may have disagreements. It is not reasonable to expect men of any kind to always get along perfectly.”

“Yours less than most.” Wakiya drew in a deep breath then nodded. “I will let them come. But they must prove themselves and their good intentions to me or I will drive them back without mercy.”

Braggi smiled. “Leave that to me. The messenger I have chosen this time is no warrior.”

“You’d better be right. I will be watching them.”

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