I've Learned Something Today...Three Lessons from Nano

So, ten days in to this whole NaNoWriMo thing, I'm almost at 15k words. Yay. I'm not sure if that's on schedule or off it honestly, but I'm happy with that output. It's definitely more than I've written in that short period of time ever. And I realized that even if I don't "win" Nano, it's definitely a learning experience.

I feel like Kyle on South Park: "You know, I've learned something today..."  But here's what I've learned.

Three Nano Lessons:

1. A goal of 1000-1500k words a day is totally doable.

Earlier this year, I had the goal of 1k a day and I thought I was all badass and it was a great "stretch" goal. And I didn't meet it. Well, you know what? It's not a stretch goal, it's realistic. If I put my butt in my chair, even with everything else have going on in my life, I can write at least 1k. So after this November experiment, I definitely feel more confident about my ability to get out a decent amount of words in a day.

2. My internal editor can be calmed, but not silenced. And that's okay.

My internal editor is a shrew and she will not go quietly into that good night. However, I've learned to slip her a little Valium. Oftentimes, I get hung up on a little minor thing--what exactly does this room look like; my character has smiled too many times so I need something else here; ooh-this is a word echo, must find another way to say it. I've learned to leave those things alone--it's stuff I can fluff and fix during revision. However, big plot changes--like I wanted to change a thread that would completely alter my MC's motivation. Even though it's against Nano "rules", I went  back and edited and changed it because moving forward without doing so would have mucked things up.

3. For all the naysayers who say Nano is a waste of time because you shouldn't focus on writing fast but writing well, I agree. BUT writing fast is a skill that every writer should hone. The key is just figuring out how to right fast AND well. 

It's no secret that unless you're the Next Big Thing, you're not going to be able to retire with one book deal. You most likely won't even be able to quit your day job for a good long while. The key to making writing a career is to write well and often. And to be able to work against a deadline. 

Check out author Lauren Dane's Upcoming Releases page. I went there the other day (because I'm a fan and wanted to see what was coming out) and was amazed. Next year she has SIX releases. Some are shorter works but still. Wow. Now this number is on the high end, but I think for most of us (especially genre fiction writers), we need to be aware that one book with one publisher once a year is probably not going to cut it. So learning to draft good stories quickly is something we all need to think about.

So that's what I've learned so far, what have you learned? How's your Nano going? And if you're not doing Nano, what are your thoughts on writing quickly and quieting internal editors?

**Today's Theme Song**

"You Learn" - Alanis Morrissette

(player in sidebar, take a listen)

She's a B*tch, She's a Lover: Writing a Kickass Heroine

 

Photo by Karen Ho

This week I have a special treat for you guys.  Guest bloggers!!!  

For those who missed Monday's post, my mom is spending this week with me, so my amazing crit group members have graciously offered to cover some topics that are near and dear to them while I'm "out".  All of these ladies are wonderful writers and offer unique perspectives on writing, so I hope you will give them as warm a welcome as you give me every day.  I also encourage you to follow their blogs--you won't regret it.  :)

So without further ado, I'll turn it over to Gwen...

She's a B*tch, She's a Lover

In a recent discussion on one of my loops, a group of paranormal authors began a discussion on what separates paranormal romance from urban fantasy.  As you can guess, what constitutes a sub-genre varies immensely depending on who you ask.  However, one thing that came up repeatedly was that urban fantasies usually feature a “kick-ass” heroine.  Granted, there are plenty of urban fantasies on the shelves nowadays where the main character is not female at all, but on the whole, I agree with this correlation.  Urban fantasy = kick-ass heroine. 

A similar, if not as severe trend emerged across all genres of romance around the turn of the century (wow, it sounds weird to say that!).  Most especially in thrillers, romantic suspense, and the emerging paranormal market, the helpless waif was out and the self-confident, self-reliant woman was in.  Many would call it a reflection of our times, where women have finally attained a position as equals in both the boardroom and the bedroom.  It’s empowering for us to see the G.I. Janes, Dana Skullys, and Sarah Conners go toe-to-toe with their male counterparts and in some cases save the day all on their own. 

A kick-ass heroine can come in many forms and her strength does not always manifest in the physical realm.  She can be on a crusade for her cause, fiercely protective of those she loves, enduring some immense emotional burden, surviving a cold harsh world that has turned its back on her, or simply aware of her own feminine power.  I, for one, fully support a world where the simpering Bella Swans are a minority.  But if you’re considering writing a strong female protagonist, keep a lookout for these common pitfalls.

Leave Room to Grow

One of the worst things you can do is paint your heroine as a Mary Sue.  No one wants to read about an all-powerful character who fights her way out of every sticky spot with hardly a scratch, and whom everyone else worships.  Give your heroine flaws.  Give her weaknesses.  Stack the odds against her and make sure she’s fighting an uphill battle, that way it will be that much more satisfying when she finally reaches her goal.  Don’t be afraid to knock her down a few times and teach her some lessons too – she’ll be that much more beloved by readers for overcoming those shortcomings.

Give Her A True Counterpart

Don’t surround your strong heroine with a bunch of swooning suitors jumping at the opportunity to do her bidding.  Keep it real.  In the real world, a tough woman is not all that adored by men, especially those she’s surpassed is skill or accomplishment.  It takes a strong man to stand beside a strong woman, so make sure your love interest is up to the task.  Another thing to look out for is painting a hero who loves your heroine in spite of her strength rather than for her strength – a very important distinction.

Don’t Cross the Line

There’s a difference between confidence and cockiness.  It can be as much of a turn-off for a woman to be full of herself as it can be for a man.  Snark comes with the territory when you’re writing a woman in a man’s world, but be careful you don’t cross that razor-thin line between sarcasm and sadism.  Don’t make your heroine too much of a b*tch, or even your readers won’t like her. 

Remember She’s a Woman

No matter if we’re talking about female charity workers, doctors, or fighter pilots, at the end of the day, they’re all women.  Remember to give your readers something to connect with.  Don’t write your strong alpha female like a man.  Make her girly.  Give her a chocolate fetish, or a stuffed animal, or a compulsion to buy shoes (okay, not something that cliché, but you get the picture).  It’s okay for her to have a soft, mushy, girly side, and it’s definitely necessary that you show it.  

Do you find it challenging to write the balance between tough chick and b*tch?  Who's your favorite kickass heroine?  Have you ever stopped reading a book because the heroine was too brash/mean/unlikeable or on the flipside, too weak/do-nothing?

When not studying science and philosophy at the UW or otherwise cavorting through the Emerald City, Gwen can be found at her favorite Starbucks drawing off of the shifting grey skies of the Pacific Northwest to pen (okay, type) dark paranormal stories, which don't always end happily but leave her characters satisfied none the less. Visit her at Gwen Mitchell Fiction.

**Today's Theme Song**

"Just a Girl" - No Doubt

(player in sidebar, take a listen)

When Your Characters Don't Share Your Moral Values

Photo by Saks08

 

This week I have a special treat for you guys.  Guest bloggers!!!  

My mom is spending this week with me, so my amazing crit group members have graciously offered to cover some topics that are near and dear to them while I'm "out".  All of these ladies are wonderful writers and offer unique perspectives on writing, so I hope you will give them as warm a welcome as you give me every day.  I also encourage you to follow their blogs--you won't regret it.  :)

So without further ado, I'll turn it over to Katrina...

When Your Characters Don't Share Your Moral Values

In my first draft of my first manuscript, my heroine was just like me: a chubby vegetarian American who’s a virgin when she meets her British future husband. *Ahem* Excuse me for getting so personal when we’ve just met, but it’s true and I’m not ashamed of any of it – except for the part about making my heroine retread the path I’d taken in real life.

It’s a common folly for new writers, and it makes it difficult to improve that particular story. For me, I hated sharing it with people – especially my husband and closest writer friends – because they could see that she was me, and I didn’t want to let them in on the other personal thoughts I’d spewed into my heroine’s head.

For another thing, my heroine became a caricature, not a character.

So imagine my delight when another character jumped into my head. She lost her virginity (out of choice) when she was 14. She smokes, and she drinks enough not to remember crawling into bed with someone. All tricky traits for a romance heroine, so she has to clean up her act quite a bit before she can have her happily-ever-after.

There’s something freeing about creating a character who’s different to you. But what about when the choices your character makes are based on them having a different moral code to yours?

I went to a Christian high school where everyone was expected to have the same standards of behavior, and those standards were based on a shared religious belief. And while my thoughts and deeds have strayed from that standard, I’ve cherry-picked my favorite aspects and incorporated them into my own moral code: be a good steward of the Earth; treat others with dignity; treat your own body with respect.

According to my latest heroine, that’s all a load of bull. While I’m enjoying giving her free reign, I’m struggling against my own control-freakery. The last thing I want is for her to be a completely different person at the end of the novel. Some of her behavior is downright dangerous, and she actually wants to change it. But she has to do it in a way that stays true to who she is; otherwise, she just wouldn’t be human.

Anyone else struggle with this? Do your characters usually share your deepest values and beliefs, or do they have an entirely different way of acting? Do you struggle with making them come around to your way of thinking? Or do you use their differences to push forward your own beliefs?

Katrina writes contemporary romance. An American living in London, she sets her stories in both countries and loves to see what happens when cultures collide.

She ponders all things romance-related on her blog, Reader, I created him.  Go forth and follow!


**Side note: tomorrow will still be Beta Club day, guest bloggers will be back on Wednesday.  :)

**Today's Theme Song - Guest Blogger Choice**

"Way Down in the Hole" - Tom Waits

(player in sidebar, take a listen)

An Apology

In the words of Fiona Apple--I've been a bad, bad girl.  And it's about time I start apologizing.  Blogging is important to me.  Every day I try to come up with a post that I think you guys will get something out of.  Sometimes I accomplish that, sometimes not.  But despite what's going on in my life, I usually try to make sure I post five days a week.  So that, I've stuck to.

However, what I have slacked off on is what I like about blogging the most--interacting with all my bloggy friends.  You guys are brilliant and insightful and supportive.  You write blog posts that make me think or laugh or teach me something.  And I used to dedicate a big part of my morning to reading and commenting on all these posts--not out of some reciprocation obligation, but because I enjoyed it.

But over the last few months, I can say, I've gotten to the point where I barely read more than five or so blogs most days.  And usually it's because someone tweeted the post and I can easily click over to it when the title catches my attention.  Even my industry standbys--Nathan Bransford, Janet Reid, Pub Rants--have gone from daily reads to occasional ones.

I also used to respond to every comment left on one of my posts because, seriously, I LOVE getting comments and am so thankful to those of you who take the time to say something.  I still read each and every comment, but there are days I don't get around to responding back in the comments (and yes, I'm still bitter that Blogger doesn't have threaded comments to make this more efficient).

And I wish I had some respectable excuse as to why, but really it's just a combination of things.  One is that the more followers I get (thanks to all of you, btw), the harder it is to make sure I get out to everybody's blogs.  It also means I don't auto-follow back anymore because I don't want to make a promise to someone by following and then never make it back over to their blog.  The other thing is that when I'm in rough drafting mode, I'm consumed with the need to write and between doing the normal life things we all have (being a mom, wife, housekeeper, cook, friend, critique partner, etc.), I only have so much time to dedicate to other things--so doing blog stuff falls to the wayside if I have decide between it and writing.

Now, I know that's not a unique story--each one of you balances similar things each day--but I'm just letting you know why I've become a less active blog buddy.  It is not because I don't heart you.

Crap, did I just say it's not you, it's me?  Well, it's the truth.  :)  I'm going to try to do better, but I doubt I will ever be able to maintain the level of commenting and blog reading I used to until I'm in editing mode again.  So, I hope that you will continue to stop by and comment even though I'm not always the best reciprocator.  And if you have any tips to share on how you balance your blog stuff with your writing, let me know!

So am I only the one feeling this guilt?  How do you balance your blogging/internet stuff with your writing and every day life stuff?  Do you expect blog reciprocation--here's a great article on that btw)?

**Today's Theme Song**

"Criminal" - Fiona Apple

(player in sidebar, take a listen)

Do You Write Quickly Enough to Maintain a Career?

Writers obsess about many things--we're a neurotic bunch.  But one of the things we seem to get all twitchy about is daily word count.  Hang around on Twitter or hop around the blogs and you'll see people posting their numbers.  I am not immune.

As you can see in my sidebar, I signed up for the 1000 word a day challenge at the beginning of the year.  Tina's also running a 500/day challenge, and hers is interactive--she beats you with a flogger or sends swarms of angry bees after you if you don't meet your goal.  (But you'll have a novel done in six months. You can sign up here.)

As for my word count meter--some days I meet the goal, some days I surpass it, and other days I fall woefully short.  But should I beat myself up over it?

Well, yes and no.

Why, yes?

Because the more I hear successful published authors speak at conferences and in interviews, the more I learn how productive an author is expected to be once you're under contract.  I was listening to an interview with Lauren Dane the other day and she said she generally takes 4-6 weeks to write a full length novel (90-100k words).  Then she edits, sends to betas, and revises.  Total time from start to sending it in to her publisher--two months on average.

Wow, right?  I mean, that's impressive to me.  Now this doesn't mean she doesn't have to do more revisions and go through the editing process with the publisher, but still.  And this doesn't seem to be that odd.  Most of the authors I hear speak seem to have similar timelines.

They say that once you're under contract and have a multi-book deal, you have to learn to write to deadline, which means writing quickly.  Of course, I know we'd all love to have that problem.  But it is something to think about.  And you can't use the excuse of--oh, but writing is their full-time job, so they have all this time to write.  The truth is, it can take many successful books to generate enough income to drop your day job.  That means you may not have the luxury of full-time writing for a while even if you do get a deal on that first book.  So, learning how to write quickly is an important skill.

Why, no?

On the other hand, we are new writers trying to break in, so editing in two weeks is NOT a viable option for us.  Our stories have to be as perfect as possible before sending them out, so we need to take our time polishing.  It goes back to the adage--write fast, edit slow.

Also, I think we sometimes get so focused on the publishing aspect that we forget about the benefits of not having a deal yet.  We are not on a deadline, so we can go at the pace we want.  Also, we're not tied to contracts so we have the ability to jump around and test out different genres and styles with our writing.  So remember to enjoy those little things as you go through the process.

Now, since I answered the questions both ways, what am I personally trying to do in my own writing?  I'm trying to train myself to write more quickly (because I have an obnoxious internal editor that slows me down), and I'm also relishing the freedom of testing out different subgenres of romance.

So, what's your process?  How long does it take you to bang out a first draft?  How long to edit?  Do you genre jump?  Do you hold yourself accountable to a daily/weekly word count goal?


**Also, don't forget, we're still taking entries for the open spot in our crit group.  You can find out details here.**

**Today's Theme Song**

"This Ain't a Scene, It's an Arms Race" - Fall Out Boy

(player in sidebar, take a listen)

Friends Don't Let Friends Overwrite

A few weeks ago Miss Snark's First Victim had agent Nathan Bransford participate in one of her Secret Agent contests.  If you're not familiar with the site, I suggest you go check it out.  For those contests, she has people submit a snippet of their opening (250 words I believe), then she posts them for everyone to comment on, including a secret agent.  Then after everything has been commented on, the agent is revealed and he or she picks a winner--often requesting pages.

So anyway, as I was reading through Mr. Bransford's comments, I saw a recurring theme in his feedback.   On almost every other post it seemed, he was pointing out overwriting.  In some of those instances, I could see it, in others I would have never picked up on it had he not pointed it out.  So, it was really helpful to read through the posts.  Then, of course, I became paranoid--am I overwriting?

Even though I'm wordy in a lot of things (including these posts), I tend to have the opposite problem and underwrite in my stories.  I struggle sometimes with painting the scene or describing details because I want to jump right into the action or dialogue, forgetting that I need to let the reader know enough to ground them in the scene.  But when I looked through my chapters, I still had moments where I got a little heavy handed on the wordage and needed to dial back.

So how do you spot overwriting?

• Too many adjectives and adverbs.

We already know adverbs are our nemesis, but dumping in tons of adjectives is a problem as well.  Do not put in three adjectives when one will do just fine.

• Using fancy words when a simple one will do.

A lot of us can fall into this trap because most of us are vocabulary nerds.  We enjoyed studying for the SAT because learning new and interesting words is awesome.  That's why it's so hard to just use said when we could use pontificated.  However, those words are distracting and pull your reader out of the story.  If the simple word works, go with that one.

• Describing things as if you were a set designer

Long passages describing every detail of the room, setting, or what a person looks like/is wearing, etc. drive me nuts.  I skim these.  Tell me the pertinent details to give my imagination the building blocks to create the picture, then leave me to it.  If you show me the ratty couch with holes in it, I'm good.  I don't also need to know the pattern on the throw pillows.

• Simile and metaphor overload

A well-placed simile or metaphor can be a beautiful thing.  A whole butt load of them littered all over the page, not so much.  Let a brilliant metaphor or simile stand out on its own by not cluttering the sentences around it with more of the same.  I recently read a book that overused similes so much that I actually stopped reading it--it was completely distracting.

• Redundancy

This can happen within a sentence (ex. the young four-year old) or can be repeating information you've already told us (telling us the hero's eyes are blue every time you mention his eyes or describing the same house every time the heroine goes there.)

• Navel-gazing characters

Introspection is good, we want to know what's going on with the character.  But passages and passages of navel-gazing will slow down your pace and earn eye rolls.   Sprinkle the introspection in with action.

• Trying too hard

The easiest way to find overwriting is to look for those places where you thought you sounded "like a writer." Think of American Idol when Simon Cowell tells the contestant the performance was indulgent.  Those are the performances where the person chose a song and gave a performance that they thought made them look "like a singer" instead of singing something that fit their voice and style. 

Resources: Big Mistake 3: Overwriting and Five Fiction Mistakes That Spell Rejection

Alright, hope that helps.  Most editor articles I've read say that almost every manuscript can be cut by 10%, so get to trimming!  :)

So are you guilty of overwriting?  Do you ever have those moments where you think you've just written something very "writerly"?  Which of these drives you crazy when you find them in books?

*Today's Theme Song**

"Truly Madly Deeply" - Savage Garden

(player in sidebar--go ahead, take a listen)

How Convenient! - Contrived Coincidence

Yesterday I talked about the TSTL character in a Lifetime movie I was watching.  Well, unfortunately (or fortunately--considering it provided fodder for two blog posts), the crappy plot devices did not end there.  The You've-Got-To-Be-Freaking-Kidding-Me moments continued.  But this time in the form of contrived coincidences.

Contrived Coincidence describes a highly improbable occurrence in a story which is required by the plot, but which has absolutely no outward justification

When we left our heroine yesterday, she was under suspicion for murder.  So, she had decided the best course of action was to break in and search the crime scene (leaving DNA-laden hair and fingerprints in her wake no doubt).  Well, she doesn't find much over there (although the killer does stop in the house briefly--at the exact time she's there--she hides under the bed, seeing only his feet).  But, that my friends, is not even the silliest coincidence.

Our heroine goes on and continues her search for evidence in different places, but doesn't turn up much.  However, she strikes up a friendship with the local coffee barista who tells her how every townie takes his or her coffee.  Well, fast forward, and Ms. Brilliant is being followed all around town by a mysterious black mustang (the car, not the horse, although that would have been better).  Because that's what killers do, they show you their car and follow you in broad daylight.  But anyhoo, a few days later her own car is vandalized and she needs to go buy another vehicle.

Well, lo and behold, as she's searching the used car lot, she happens upon what?  You got it.  The black mustang that's been following her.  Oh, and what's that you say Mr. Salesman?  The car was just dropped off yesterday and IT HASN'T BEEN CLEANED YET!  Well, hot damn!

So she buys the car and what is laying neatly in the floorboard of the car?  A receipt for coffee with the very order of one of the people the barista told her about.  Killer identified!

Seriously.  I'm. Not. Kidding.  That's how they wrapped this thing up.

Okay, so this is an extreme example of Contrived Coincidence, but this can show up more subtly in your writing.  Sure, coincidences happen in real life--that's why we say life is stranger than fiction.  But just because something could possibly happen if all the stars aligned, it doesn't mean your reader is going to buy it.

Some things to watch out for...

• Someone overhearing information or seeing something at the exact right moment 

--If your MC has tapped the phones and has been listening and finally comes across evidence, that's one thing.  But if they just happen to stumble upon the scene and just happen to hear the precise info they need, well then no.

• Two characters you need to get together run into each other at the perfect moment

--Make sure your characters have a reason to be in the same place at the same time.  Motivate it.

• A character bursting in at the very perfect second to save the day or stop something from happening 

--Ex.) the heroine is about to be killed but the hero shows up and shoots the villian just in time--not because anyone called him or notified him that she was there, no he's acting on a hunch or just happens by.   

--Ex.) Edward calls Bella at the precise moment she's about to kiss Jacob in New Moon--oh, and even though they are at Bella's house, Jake answers the phone and tells Edward information that inadvertently sets off the Romeo and Juliet tragedy reenactment.

• Without trying, your MC stumbles upon a key piece of evidence or a weapon just when she needs it or some outside force fixes a previously unfixable problem (this is also referred to as deus ex machina).  Oh, there's a handy wooden stake, how'd that get here? 

--Set these things up, foreshadow, make sure we know why and how that key thing showed up when it did

Reviewing all these for this post kind of makes me laugh.  I have many of these in my now buried first novel.  Live and learn, right?

So, with both the TSTL characters and the contrived coincidence, there is a recurring them.  If you motivate something correctly and set things up for your reader, then they'll go there with you.  If you don't, they'll throw their hands up and not believe you or your story.

So what movie/tv show/book has made you say "Oh, well isn't that convenient"?  Will you stop reading or watching if the coincidences are too unbelievable?  Have any of these things shown up in your writing?

**Today's Theme Song**
"I Don't Believe You" - Pink

(player in sidebar if you'd like a listen)

The Drug of Choice for Writer's Block: Speed

Many authors subscribe to the belief that writer's block doesn't exist.  I attended a workshop by author Candace Havens last year, and she said that writer's block is simply author fear.  It's not a true block.  Although sometimes the struggle does feel like and honest to goodness wall in my brain, I tend to agree that it is wrapped up in my own fear and insecurity.

Photo by xavi talleda (click pic for link)

In this month's edition of the Romance Writer's Report from RWA, career coach Hillary Rettig wrote an article about overcoming writer's block.  She purports that one of the main causes of writer's "block" is perfectionism.  We obsess about every little thing and end up writing in fits and starts and procrastinating the rest of the time.  Um, has she been spying on me?  This is so my issue.  I talked about my perfectionism here.

So what is her suggested solution?  Speed.

She said productive writers have this in common.  They treat their writing as something they "do"--not think about.  They sit down without distractions and write.  That means no checking email, blogs, etc. as soon as you hit a tough spot in your story.

The second part of speed is not expecting to achieve the ultimate or most perfect work.  Perfection cannot be achieved, sometimes good enough really is good enough--especially in a first draft.

And lastly, she says that fast writers do not hold onto their drafts like they're guarding the Hope diamond.  Perfectionists don't want to hand over their draft to those beta readers until they feel like the book is ready for prime time.  This means we end up obsessively revising and spending way too much time on the work only to be devastated later when it comes back from critting with some major issue that we couldn't see because we were too emotionally involved.  Early beta readers can help point out issues and problems that you can fix upfront.

So her advice is to sit down, write, and don't hesitate, just keep writing.

This article definitely hit home for me.  I am so not Zen about my writing.  This is why NaNoWriMo always intimidates me.  I don't know how to write without going back and revising and questioning every little thing.  But maybe I should give this method a try.  It may mean more revising on the back end, but that's easier than just having two perfect chapters and a pile of blank pages to show after months of work.

So how about you?  Are you Zen about your writing--just doing it without hesitation?  Or are you a perfectionist who questions everything as you go?  Do you hold onto your first draft forever or just throw the ugly thing to your betas for help?


*info from article "Speed as an Antidote to Writer's Block" by Hillary Rettig, Romance Writer's Report February 2010*

**Today's Theme Song**

"Perfect" - Alanis Morrissette

(player in sidebar--go ahead, take a listen)