Life in progress

Category Archives: Writing


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How far would YOU go?

Since I’m hip deep into the novels today (and by hip deep I mean I’m trying to stick to my laptop rather than run to the kitchen every half an hour to grab a snack that will inevitably go straight to my hips) there are a few issues on my mind that need a little sharing. Foremost at the moment is research.

I’m discovering that there is only so much that can be done whilst sitting on my rear end in front of the computer. Wikipedia is great, but sometimes you just have to get out there and see what’s going on in person. To this end I’ve spent a fair bit of time in the city where most of my novel takes place, which is as you probably know, Kingston, Ontario.

There are some things I am having a more difficult time researching, however. My story is about stage magician, Stephen Dagmar–meaning that apart from the novel’s main plot, which is a paranormal romance/horror about a man who must battle against a family curse in order to live happily ever after with the woman he loves, it also contains the stage. And a talent agent. And, most difficult to research in person, the backstage areas of some major venues across Canada. I’m thinking that before I actually publish this thing I’m going to have to find a way to talk to/interview both a magician and an agent. But getting backstage might be a different story.

If there are any magicians or talent agents reading this, I’d love to talk to you. If there is anyone who has access to a live theatre I’d be forever grateful if you’d leave some tips on how to get backstage. I’m not looking to meet celebrities, I just want to see where they hang out and get a feel for the process of setting up a stage.

For everyone else reading this, how far have you gone to get research? I’m not only talking distance. Would you have the guts to try to get into places the public doesn’t normally get to go? To what lengths would you go to get there?

Suggestions are also gratefully received. 😀


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The Editing Process

It occurred to me this morning as I was working on what will probably be the second-last edit of my novel The Great Dagmaru, that editing is an inherently ugly process. When I read my novel as a whole, it’s like taking in a picturesque landscape, with rolling hills, still lakes and vividly coloured birds, twittering and flitting from branch to branch.

But as I edit it, sentence by sentence, all I can see are the caterpillars, munching on the leaves and weaving themselves gauzy tents where they squirm like maggots. My job, of course, is to get them outta there looking like pretty butterflies.

It’s easy to get discouraged when I’m gazing at my work under a microscope. I agonize over single words; I look at them sometimes until they cease to have meaning. I forget how phrases go together in natural speech because I’ve contemplated them for too long. Thankfully this only happens occasionally. There are also parts which I can read through and not want to change a thing, except to delete a word here and there.

Today, however, the ants are crawling with the spiders and the worms are aerating the ground to allow for new growth. And I’m seeking oxygen to keep going.


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Readers and Writers: Opinions Wanted

I had an idea: I doubt it’s a unique idea, which is why I one of my questions to you, dear readers and writers of fiction, is whether or not you’ve ever seen this done before.

Imagine being able to have a conversation with Anne Rice’s Lestat, Stephenie Meyer’s Edward Cullen, Stephen King’s Annie Wilkes, or J.R.R. Tolkien’s Galadriel. Would you want to? If an author gave voice to one of his or her characters in an interactive medium, would it be just plain weird for that character to be removed from the world the author created for them? Or would it be a thrill-ride to be able to ask all the questions you have about their lives before they showed up in the story you love? Would you enjoy flirting with your favourite fictional character? Would you like to get more insight on a villain’s inner thoughts?

I’ve seen blog posts where authors interview their characters, but to let them out in public–to relinquish control over what they might have to reveal–is a different scenario.

So I ask you, apart from the question have you seen it done before, would you want it? Or is it better to let them stay put in their story?


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One-Liner Wednesday – Writer’s Block?

“Trying to understand is like straining through muddy water. Have the patience to wait! Be still and allow the mud to settle.”
― Lao Tzu, Tao Te Ching _____________________________________________________________________________________

Anyone who would like to try it out, feel free to use the “One-Liner Wednesday” title in your post, and if you do, you can ping back here to help your blog get more exposure. As with Stream of Consciousness Saturday, if you see a ping back from someone else in my comment section, click and have a read. It’s bound to be short and sweet.

The rules that I’ve made for myself for “One-Liner Wednesday” are as follows:

1. Make it one sentence.

2. Make it either funny or inspirational.

Have fun!


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One-Liner Wednesday – Writing

I’m so totally absorbed with my writing that I forget to eat, to sleep; even to turn the lights on four hours after the sun has gone down.

~ True Story

 

______________________________________________________________________________________

Anyone who would like to try it out, feel free to use the “One-Liner Wednesday” title in your post, and if you do, you can ping back here to help your blog get more exposure. As with Stream of Consciousness Saturday, if you see a ping back from someone else in my comment section, click and have a read. It’s bound to be short and sweet.

The rules that I’ve made for myself for “One-Liner Wednesday” are as follows:

1. Make it one sentence.

2. Make it either funny or inspirational.

Have fun!


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Method Writing

Writing characters who are vastly different to ourselves is something many of us do, or at least strive to do. It’s not easy to extract one’s personality completely from the page – we can only write what we know, after all. Yes, imagination is a far-reaching avenue, but how do we make it stretch as far as it can possibly go?

I have a theory that is probably not all that unique, but I’d like to share it anyway.

When I was in high school drama class, I learned about something called the Stanislavski Method, or, Method Acting. For a full description of what it is and how it came about click here: http://en.wikipedia.org/wiki/Stanislavski%27s_system In my own words I can tell you it’s a method of acting where the actor studies the motivations of the character and makes use of empathetic observations in order to “become” the character. Its a way of bringing about realism and believability.

This is the method I have striven to bring to my writing. To “become” the character I’m writing makes my dialogue and my character’s actions come to life. To do so I need to be able to concentrate and to empathize with what they are experiencing. I often try on their expressions and imagine, as though I’m watching them on a screen, moving in the ways that their emotions dictate. There are times, therefore, when I must go through a scene twice or more times in order to get the nuances just right from each perspective, but by doing so my scenes are much more lifelike and full of what makes my readers able to envision them.

I believe empathy is something that is essential to a writer. It’s why we people-watch; to gain insight on how people emote, their body language and what causes it. Without empathy, we can only write characters who are cardboard cut-outs of stereotypes.

I realise this is hardly a groundbreaking idea, but the Stanislavski Method of Acting is certainly one to pay attention to for a writer. The more we know our characters and what makes them tick, the more our readers are able to sympathize with their plights. We want our readers to love them or hate them. For this to happen our characters must display passion, and for them to display passion we as the writers must feel it first.

Do you ever imagine yourself watching your scene play out before you? Are you able to put yourself in your character’s shoes? I’m very interested to hear what other writer’s methods are.

 


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Am I wrong?

When I write short fiction, I like people to have to think about what they’ve read. I tend not to over-explain things – I think of short fiction the way I think of a joke. If you have to explain it, it loses something.

My father had a very dry sense of humour. Think John Cleese, and you’ll have an idea of what my dad was like. For years I didn’t “get” his jokes – say from the ages of 0 to 4. After that I learned to think about what I was being told, and to this day I prefer dry humour over any other kind. So my fiction – at least anything shorter than a novel – leans that way, especially the funny fiction. It’s different with longer works. I know when I don’t understand a novel I usually end up putting it down because it only gets worse.

But I often wonder if I’m being too obscure. Take the little story I wrote yesterday. It makes sense if you can figure out what I’ve done with it… but I have no idea if anyone who read it, did.  If you’d like to humour me and give it a read, it’s only about 100 words long. Here it is: http://lindaghillfiction.wordpress.com/2014/07/03/fishin-pole-blues/

Otherwise, I’d like to hear from you. What do you prefer? Do you like to think about what you read in fiction? Or do you prefer to have it all laid out?

 


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Progress – Camp NaNoWriMo

I don’t intend to write many progress reports here, but I did want to share how my day went today.

To be honest, I was nervous about starting the sequel to The Great Dagmaru before I finish editing it. I was torn – should I concentrate on finishing the first? Or start the next in order to see where the story is going, in case I’ve missed out any important details of my character’s lives that I can still write into the first book? As you might have read last a couple of days ago, I’ve chosen to go ahead. And I’m so happy I did.

My goal is 25,000 words, which means I have to write an average of a little over 800 words a day to achieve it by the end of the month. Today I wrote 1600 — and I don’t want to go to bed. I don’t want to stop.

Getting back into my beloved character’s lives is like stepping into a warm bath on a cold winter night. It’s like going on an adventure with a lover with no preconceived notion of where we’re going, only that we’ll be going together. It’s like once again haunting my loved ones: they have no notion that I’m there but I am, lovingly watching every step, hearing every thought, and gently rounding out every feeling so that they glow warmly on the page.

I truly truly love to write. And I’m so lucky to have the luxury to pursue my passion for it.


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Go ahead, call me crazy

2014-Participant-Vertical-BannerIn my infinite wisdom borne of never having enough of a challenge in my life, I’ve decided to join Camp NaNoWriMo, which starts July 1st. My goal is to write 25,000 words of the sequel to the novel I started and failed as a NanoWriMo project in November of 2011. That one took me 18 months to finish. I’m not under any delusion that I can get the sequel done in a month, so I won’t even try.

But wait, Linda, I hear you saying. You can’t even reply to the comments on your blog, what makes you think you can take on another project?

To answer that question, I have no idea other than that I need to start being creative again or I will go completely around the bend. I’m halfway there now, and let me tell you, the scenery ’round there is scary-dark and smells ominously like a fart.

Is it worse than getting lost in the woods while at Camp Nano? There’s only one way to find out. I figure I should be okay as long as I don’t come across any bears — ‘coz you know what THEY do in the woods.

 


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Universal Feeling – Stream of Consciousness Saturday (Emote)

I want people who read my fiction to fall in love with my characters. Not the bad guys necessarily, but at least the good guys. It took me a while to figure out how to do this, but in the end it always comes down to emotions. When my characters emote in a way that people can relate to, they feel a connection.

When I write, “Hank felt sad,” I know that my readers will look at the words on the page and think Hank is sad. Too bad for Hank. But if I write, “Hank cried,” people will read this and feel it, because it’s something that they do, or try not to do, when they are sad.

Emotions have a way of getting the best of us. They’re something we share, no matter our race, language, or beliefs. They are universal. And so when we see someone whose beliefs we don’t understand on the news, for instance, and they are crying, we feel their pain. At least those of us with compassion.

My best friend John told me a while ago that when we yawn when we see someone else yawn, it’s a sign that we’re not a psychopath. I know this has nothing to do with emotions, as such, but it does show our capacity for understanding what someone else is feeling. Empathy, compassion, sympathy… they’re all necessary for us to understand. And what makes good fiction worth reading as well.

This scattered post was brought to you in conjunction with SoCS: https://lindaghill.wordpress.com/2014/06/27/the-friday-reminder-and-prompt-for-socs-june-2814/

Click on the link and join in the fun!