An Authors' Reality

by Cheri Chesley

This weekend has been an enlightening one, and I can blame/credit Facebook for that. I have the privilege of being friends with many authors in various states of publication and/or success--from National and International bestsellers to people still waiting to break in to publishing, or even those not so interested in publishing so much as sharing their stories or poems with friends and family. It's a blessed life.

And a cursed one. This weekend, several of my author friends have posted how their feelings of doubt about their abilities as writers have surged. These are established and even award winning writers. They have the chops. From the outside we question how they can doubt themselves or their abilities. They're proven successes.

But doubt and being a writer go hand in hand. It's the curse of art, I believe, or any artistic pursuit. We lack a standard by which we can measure success. Truly, success can be defined in different ways. Publishing a book. Getting the book contract. Having more than one book published. But, in truth, most of us just want to get better with each book. We crave the growth that comes with the process of writing. That is success.

It pains me to hear how my writer friends struggle. I know, from experience, that the doubt never really goes away. Right now I have what I think is the best manuscript I've ever written of to beta readers, and I know they're going to find problems with it. I want them to--so I can fix it, but, at the same time, I want to have the perfect book. Which I know is a pipe dream, but it doesn't stop me from striving for it.

To my friends who struggle with the process--and with their own doubts--I want to say that only you can define your personal success. As long as you are doing what you love, and doing your "Very best" as Gordon B. Hinckley would have said, you don't need to sweat the rest.

Recently, a friend asked if I could be anything I wanted or do anything I wanted in this world, what would it be. After some thought, I had to say I would be and do exactly what I'm doing now. I get to stay home and be here when my kids need me--which, after years of working, is such a blessing. And I get to write. I'm not the fastest or most prolific writer out there, but I'm steady. This has been my dream for so long, and I'm living it.

What would you be?

Are Characters Kings or Pawns?

By Christine Thackeray

So, my twenty-three year old son convinced me that I had to read the wheel of time series. I have to admit I've been intrigued ever since Brandon Sanderson was contracted to finish the epic fantasy saga, and I at last gave in. At the expense of my laundry room and kitchen I've spent the last four days reading constantly. The story has been engaging and Jordan's vocabulary is thrilling, but I've had a few character issues that make me leary.

"The Eye of the World" begins with three rural boys driven from their homes on a great adventure. Each of the boys has unique interests and personalities. All three are led by a mysterious woman and her champion guardian. The story clips along until they split up and return together. For a time, when they reconnect in smaller groups, some of their motivations seem forced in order to continue the conflict. You'd think these childhood friends would be ecstatic to see each other, but they have petty issues, blown out of proportion. The resolve is clever, but my question continues- how important is it to have characters be true to their personality types? More than once I've been plotting a story and knew what I wanted my character to do but couldn't make it work realistically. With Robert Jordan he just does it and throws in enough magic dreams and Trolloc attacks that you totally forget you were frustrated with motivations.

When a character is not genuine, I get frustrated with the project and often stop reading. Like the horror movies where the babysitter hears a sound upstairs and goes into the attic to be killed. Yeah, right. Call 911, dummy. On the other hand, if the conflict isn't stepping up, like Heather said, I also lose interest. In the end, I suppose it is a matter of weighing cost and benefit. You can stretch a character to the bounds of believability if it's exciting enough, right??? As authors what do you think? As readers does it even bother you?

Smile and Keep Going

by Cheri Chesley

I feel kind of bad that I don't have anything to post about the LDStorymakers Conference, but I didn't attend this year. I did, however, crash the AI mix n mingle Friday night. :)

I was late, of course, but I did bring a homemade cheesecake. That should make up for it, right?

Even though I missed the conference, it was still great to meet up with some of my author friends and chat and laugh the evening away. I think I really needed that. And, I did notice the entire hotel seemed to buzz with that special energy that only happens when authors get together. :) I love that feeling.

After I got a healthy dose of writing and books, I drove over to the airport to say hi to my hubby at work. We ended up talking for over an hour. Sigh. I like doing that, but I do have to say the middle of the night isn't the best time for it.

I am looking forward to reading everyone else's take on the conference, and I still hope to learn from what they have to share.

Making Your Romance Steamy Clean

By Heather Justesen

Can you make kisses steamy, and still keep them clean?

This is a big issue in the LDS market, and in clean romances everywhere--and the answer is YES!

The key to a good, clean first kiss that gives your reader a payoff without venturing into murky waters is two-fold, though both techniques work in tandem.

First, you want to focus on the senses--what does the viewpoint character hear, smell, feel, etc?

The second thing you do is draw the kiss out so it increases the tension. If your characters look at each other, their eyes blaze in awareness and he kisses her--all in twenty words--you've not allowed the tension to build. Now, there may be times when you want to keep your kiss lighter, and this might work--and you certainly don't want to try and make every kiss tension-fraught, because, face it, they wouldn't be in real life, so pick and choose your most important kisses--starting with the first one.

Here's an example of a bare-bones first kiss from my book, The Ball's in Her Court:

“It’s her cupboard.” She shrugged, knowing he couldn’t see it. His arms were surprisingly muscular for a desk jockey and his short-sleeved blue shirt emphasized his biceps and the width of his shoulders.

He opened the cupboard and picked the jar of salsa out, turned and placed it on the counter beside her. Denise looked up into his eyes when he placed his other hand on her shoulder.

“You’re a lot of fun when you let yourself be, Denise.”

She couldn’t respond to that as her mouth went dry. The look in his eyes said more than she wanted to see. Why had she thought they could just be buddies, friends? Hoping to bring some sanity back to the moment, she tried to protest, despite not wanting to step back from the situation. “Rich—”

“I’ve never wanted to work for a company besides Donaldson. Not until I met you.” His voice was low, barely more than a whisper.

Denise turned her head away, focusing on the sink. “Rich, we can’t.” The protest sounded weak even to herself. She wanted him to kiss her.

“For just a minute I’m going to forget that you’re strictly off limits.”

His lips slid over hers and she felt herself falling into the kiss. Something inside her had wanted this since the first moment they met, and she couldn’t beat it back. At that moment, she didn’t even want to.

Now here's the full excerpt--what actually ran in the book--with all of the sensory details. See what a difference it makes?

“It’s her cupboard.” She shrugged, knowing he couldn’t see it, or the way she tracked every move he made with her eyes. His arms were surprisingly muscular for a desk jockey and his short-sleeved blue shirt emphasized his biceps and the width of his shoulders.

He opened the cupboard and picked the jar of salsa out, turned and placed it on the counter beside her. Denise looked up into his eyes when he placed his other hand on her shoulder. Her stomach quivered.

“You’re a lot of fun when you let yourself be, Denise.”

She couldn’t respond to that as her mouth went dry. She swallowed, trying to get past the sudden lump in her throat. One of his fingers brushed her neck and she felt goose bumps run down her arm. The look in his eyes said more than she wanted to see. Why had she thought they could just be buddies, friends? The moment stretched out for several seconds as they stood, motionless, neither breaking eye contact as the moment wound around them. Hoping to bring some sanity back to the moment, she tried to protest, despite not wanting to step back from the situation. “Rich—”

“I’ve never wanted to work for a company besides Donaldson. Not until I met you.” His voice was low, barely more than a whisper.

Denise turned her head away, focusing on the sink, but Rich slid his hands up her neck and onto her cheeks, his gentle touch alone enough to have her turn and face him. One thumb brushed across her cheek and the fingers of his other hand slid into her hair. “Rich, we can’t.” The protest sounded weak even to herself. She wanted him to kiss her.

“For just a minute I’m going to forget that you’re strictly off limits.”

When Denise looked up, his face was drawing closer and she wondered if she would breathe again. His lips slid over hers and she felt herself falling into the kiss. Her hands grasped the cotton at the side of his shirt, pulling him closer. His torso was solid beneath her hands and the movement of his fingers on her face and in her hair sent shivers down her spine, into her scalp. Something inside her had wanted this since the first moment they met, fighting against the memories that warned her away. His soul called out to hers and though she fought it, she couldn’t beat it back. At that moment, she didn’t even want to.

The first version was adequate, but not strong enough for a first kiss in a book that has a strong romance plot line. The second one allows time for the tension to build--and there was actually a little more buildup to this tension between them before the excerpt. You don't have to use words like desire and lust (words that are both no-nos in this market) to make your reader to feel that sweet ache of excitement that comes with a new relationship. It's all in the details.

What Life Teaches You About Writing

I think Jillayne and I have been thinking along the same lines. If you wonder why, check out here post from Thursday HERE.

As I turned my writing focus to more spiritual fulfillment and included God in my writing practices, I was reminded to observe my children in particular for ways to improve my writing voice. They provide me with tons of great information in general, those kids, but when I use what I see, hear and feel in my writing it makes for a stronger story.

For instance, because I nearly lost one of my sons to an undiagnosed disorder when he was a baby, I know a lot about the feelings a mother experiences in that situation.

And, last Thursday, my oldest son taught me what a mother feels when her teenager is thrown from a horse and then stepped on by said horse.

These examples are pretty obvious ones. I'm sure most of you can imagine the general feelings a person experiences in these situations. But the more subtle nuances of the moments, the things that can enrich a tense moment in a book, are things you can only know if you life through these things.

And I don't want to focus on just the bad stuff, though that does make good fodder for writing books. The sweetest moments of life can bring about the happiest endings, or the most tear-jerking moments of a book.

So, what is life teaching you?

What would you say?

It’s pretty clear by now I love words. Today, though, I want to talk about one word in particular. That word is NO.

As a mom, I have no problem telling my kids no. I’m pretty good with it, in fact. They’ve come to anticipate the “no” before the “yes.” Not that I’m a mean mom; I just don’t believe in overindulging my kids.

But this is a different no, and I struggle with it horrendously. And as I extend my networks with the intention of meeting new people and getting my name and book title out, I worry that I may be using that word more than others.

Let me explain. Today I got on Facebook to check messages and get updates on my author friends. And immediately someone opened up a message box and started talking to me. In short, he wanted to meet. Immediately I thought of everything we all know about internet safety. For all I know, everything on his page that made me accept his friend request in the first place could be lies. For all he knows, I’m a 40 year old serial killer looking for victims under the guise of an LDS wife, mother and author.

I searched for that instant feeling of foreboding, and it wasn’t forthcoming. But that doesn’t mean I’m going to trust this guy. Just because the spirit doesn’t instantly let me know someone is bad news, as it has before, doesn’t mean this person is safe or harmless—or even honest.

But saying NO outright seemed harsh. What if he’s a nice guy looking for friends? What if he’s got 16 nieces who’d love to read my book? And my thoughts called to mind something I’d heard before, about how women have such a hard time hurting people’s feelings. We’re too nice, and because of that we often find ourselves in dangerous situations. So why is the word NO so hard to say?

I thought about it for several minutes. What’s the worst thing he can do? Un-friend me? Start spreading lies about me? (Okay, I admit—that one gave me pause) Call me names? This is a challenge I’m sure will only happen more as I continue to extend my network.

In the end, I chose to refuse to go meet him. And I told him why. But I did suggest he come to one of my signings after my book comes out, which is no more or less than I would do to anyone I have “friended” on Facebook.

What is the best solution? What do you do? Do you only friend people on Facebook that you already know, or that are referred to you by someone you know? Do you only friend people who say they are LDS? Maybe I’m cynical, but that can be a lie too. And if they post things I don’t agree with, do I “un-friend” them? Just because they do not agree with my beliefs doesn’t make them evil.

Where does using good judgment end and simple judging begin? Thoughts?

Visions of farm accidents

For those who didn't know, in addition to being a writer, I'm also an EMT in my hometown. The last week of every month we have training where we learn new skills or review things we know (and quarterly we also have pass-offs of all our skills and the drugs we carry so we can stay current on them). Tonight we were told we were working with the fire department--which usually means we're doing car extrication practice. We work with the guys on the fire department a lot--anytime there's a car accident dispatch calls both departments out together. If there's a structure fire (house, barn, etc), the ambulance goes out to the scene to monitor the firemen between their runs into the house to rip out ceilings and douse flames. And sometimes we even end up treating people who live in the house--but usually we're just badgering the firemen to wait until their blood pressure comes back to a normal range, and forcing them to drink more electrolytes. =)

Tonight, however, we drove out to some farms and learned about extricating people from accidents with tractors and balers and other large equipment. I still couldn't tell you what all of the machines are called, but I got a crash course on what could go wrong on farm equipment. One of the EMTs and her husband--who runs a farm--got some volunteers to get bloodied (with fake blood) up as victims, and put together some fake bodies to take the place of victims who probably wouldn't survive the accidents (no actual people were harmed in the scenarios, though several were really cold from lying on the ground, and any number of clothes were damaged beyond repair).

We went through each scenario discussing what the EMTs injury concerns would be, what the firemen could do to help us, to extricate the patients and solve problems while we cared for the patient. After it was all over, I heard one of the EMTs saying to Lindsey, who put it all together, "Wow, you must have a really twisted brain to come up with all of those situations." I kept the fact that I had been wondering about how I could use one of the scenarios in a story to myself. She didn't need to know how seriously twisted I was, after all.

After Jeff told us that he and three other farmers stood around the baling machine that morning discussion how someone might have an accident with it and not end up dead, I realized farms are a magnet for danger. I could write a real horrific suspense story on one of those places!

Okay, now to the point of all of this (besides the fact that it was just plain fascinating). EMTs have to learn new skills and keep their current skills up to date. In the same way, I need to keep my writing skills honed, and learn new ones all the time. I read Lisa Mangum's new book The Golden Spiral this week and she said in her acknowledgments that in writing her second book, she learned every new book is different. They have to be treated like a different book because what works for one doesn't work for the next one.

Just because I've been to ten or eleven conferences now doesn't mean I've learned everything there is to learn about writing (I learned plenty at the LUW spring workshop last weekend). This is an ongoing process and I can't afford to become comfortable with the same kinds of skills that I've used in the past.

What worked for my first couple of books isn't going to be enough for the next one, and though I can use the skills I've already learned, I need to keep improving, keep searching for better ways to work my craft, better ways to express myself, new and unique ways to kill people off (If there are so many on a farm, just imagine where else you could find a few!).

It takes a village

By Heather Justesen

They say that it takes a village to raise a child, but how many people realize it take a village to write a book too--or at least to publish a book.

My case in point: I have a book written that started with an idea spawned from a news report somebody wrote. I mulled the idea, then talked to a friend about ways to make it work, ways to expand it, extra conflicts. Then I went online to research information yet another person culled and posted. Several other people, most likely.

I worked on the story, asking for opinions from an ER nurse, my parents, and husband as I was trying to form everything and make the pieces fit.

Next I took it to my critique group and they gave me more feedback about things they liked or that needed more explanation. They told me what wasn't working and made me think about different ways to convey that information.

When I eventually find a home for the manuscript it will go through several readers, editors, line editors, and possibly more revisions.

Did I write the book? Yes. Could I have written it and gotten it to the final format without any help? Perhaps, but it wouldn't have been as good, it might not have resonated with as many people if I didn't have input and direction on how to finesse the story. My characters might not have seemed as real to the final audience.

We always say that writing is a solitary profession, and for the most part it is. I'm the one who put those words on the page. I had to suffer through countless edits and tweaks as I worked to make the wording just right, but I didn't do it all alone. I have a phalanx of loved ones and supporters who also want my book to be all it can be, and who are willing to give suggestions and feedback to help me accomplish that goal. And I've had other writers, those who are smarter and better at the craft than I am, who have helped me reach this place in my writing career, and who continue to support and cheer me on.

Because of that, I know I need to do the same. Though I've been talking about starting a local writing group since late last summer, we finally pulled a few women together last month and met to try and make something happen. We've each been in touch with additional people, and hope that in a few months we'll have enough dedicated writers to create an official chapter of the League of Utah Writers. But if that doesn't happen, I now have a core group of at least three other women living near me who want to take this writing thing seriously. They're all extremely talented, so I know we'll all have something to contribute to the group.

When a job is as solitary as writing a book, it takes a cadre of friends to help us reach our goals.

Flow

There is an instinct that writers develop after gaining some writing experience for how the rhythm of their sentences flow. Have you ever read a manuscript that seemed choppy...or worse, so long winded that the whole thing felt like one never-ending pile of mush? I have. And they were my own manuscripts.

At first I had no idea how to fix the problem, but after I got a little practice under my belt I realized that the length of my sentences had to be varied. They couldn't all be short or long, and they couldn't all have the same rhythm when they were read aloud. Like music, the language had to be interesting, broken apart by differing speeds,rhythms, and pauses.

Try reading your manuscript out loud to yourself. Does it sound short and choppy? Are all the sentences the same length? Try to vary the length of the sentences in each paragraph until they sound like they flow well when read aloud. Sometimes of course you may purposefully shorten or lengthen a few sentences in a row in order to create tension or another type of mood.

In any case, paying attention to the flow of your language will make your writing much more professional and enjoyable to read. After awhile, you will start to vary your sentence lengths automatically without even having to think about it.

Kersten Campbell
"Confessions of a Completely Insane Mother"
www.kerstencampbell.com

Say It Like You Mean It

By Jodi Marie Robinson

 “I couldn’t help but cough as a cloud of dust particles danced in a stream of light beaming through my basement window.”

Okay. So, that’s an overly fancy way for saying, “I was unpacking a box covered in dust and, when I brushed it off into the air, it made me cough.” Now, we could still work on that sentence, but let’s move on to my main point.

One challenge in writing is saying what we really mean. I know, at times, I’m guilty of it. So, how can we avoid overly fancy phrases and expressions that just complicate our writing? I have one simple tip that may help. Give a speech. What? You may ask. But I hate speeches, talks, anything that resembles public speaking. Now hold on! I’ve had a lot of experience as a public speaker. I’ve given presentations in front of small groups, as well as hundreds of people, and one thing I do know is that, when you have to “speak” or “say” something out loud, you tend to simplify your message. You say it like you mean it.

Take for example the example I used earlier. If I take my hands off the keyboard and ask myself, “What am trying to say?” And then I say it out loud, my message becomes more clear. I talk about the dust on the lid and how when I brushed it off, I coughed. Talking about dust particles dancing in a stream of light, well, we don’t talk that way. So, we should be careful not to write that way. It doesn’t mean we can’t describe dust as dancing in the light, but there better a good reason for it otherwise it’s just flowery writing and we’re guilty of not saying it like we mean it.

When you’re pretending to give a speech, you use your hands. (I'm part Italian, so I can't help myself.)  You also pause. You inflect. All of this can help you as you craft your words and your message. So, let your hands fly across the keyboard and write like you talk. Let your ideas hit the page freely without “writing” them.  Try it and let me know how it works for you. You can always go back, edit, change, and improve your word choice. The key is getting the right idea in thebeginning so you can communicate effectively.

Coming from someone who talks a lot, the best advice I can give is: Don’t complicate the message. Just say it. (Now the challenge is to take my own advice.)

Oh, and one more thing. Merry Christmas and Happy Holidays. Is that clear enough? See you in 2010!


All the best,

Jodi Marie Robinson
http://www.jodimarierobinson.blogspot.com/