Archive for writing

Voice

Opera Diva Strikes Again

Opera Diva

David Corbett over at Murderati has got me thinking about voice in fiction writing. Below I’ve got 5 story openings. I haven’t put down the authors because it is interesting to read them without having the author’s prestige, or lack thereof tied to the quotes. Even in these few opening lines, each voice is quite distinct. Who do you read because their voice is just so compelling?

1.In his seventeenth year of life, Jai gained an empire and lost everything he valued.

Stately buildings faced a plaza tiled in white and grey stone. clouds hung low in the sky, their drizzle saturating the air. Evening had come, a time when the heat of the sixty-two-hour day on the world Delos called enough to make the temperature tolerable for its human colonists

2. The world is full of broken people. splints, casts, miracle drugs, and time can’t mend fractured hearts, wounded minds, torn spirits.

Currently, sunshine was Micky Bellsong’s medication of choice, and southern California in late August was an apothecary with a deep supply of this prescription.

3. The ministry of State Security had been positively shocked when they found that a Nazi agent, more heroic than prudent, had almost reached N. Rogov.

Rogov was worth more to the Soviet armed forces than any two air armies, more than three motorized divisions. His brain was a weapon, a weapon fo the Soviet power.

4. Clayton Sparrow lay in bed, head propped on a hand. His gaze traveled the length of Anna Wassar’s back, muscled like a swimmers, it flowed to a deep curve just before it melded into the opulent rise of her buttocks. With his forefinger he traced the line of his gaze.

“So you see how important it is to go. There is so much to be learned.”

“Hmmm,” murmured Clay. He hadn’t a clue what she was talking about, and now was no time to ask and risk putting her off.

5. This is Lexie Madison’s story, not mine. I’d love to tell you one without getting into the other, but it doesn’t work that way. I used to think I sewed us together at the edges with my own hands, pulled the stitches tight and I could unpick them anytime I wanted. Now I think it always ran deeper than that and farther, underground; out of sight and way beyond control.

Best Laid Plans

8:16 pm
I intended to work on the revision of The Spell today. Had it all planned. First I would add a thousand words to Time Shift, then lunch and a couple of hours of revision work on The Spell.

It didn’t work out that way. I did work on Time Shift — I’m calling it that for now. It used to be Anna’s Story, but that won’t do. Time Shift isn’t right either, but it necessary to start thinking of a proper title.

The words crept along trying for tension, but mostly lying on the page like cranky babies. Still in the end the scene drew to a close and I had managed to spread eleven hundred words on the page. I’m now at 80,000 words in this novel and I figure I have another 40,000 left to go.

I broke for a lunch of fruit that had past its best-by date and determined to tackle The Spell thereafter. My plan was nicely interrupted by a visit from my sister. Over many cups of Earl Grey green we laid out exactly what was wrong with our lives, and were, I expect, both grateful in the end that we didn’t have the others problems.

Refreshed after sharing our burdens, but water-logged and heavy with cake we said our good-byes. Of course, by then it was much, much to late to tackle something as thorny as the revision of The Spell.

I’ll leave you with this from Creedence Clearwater Revival.

Choosing Writing Advice

reading_books

After reading the May 31, 2011 blog entry by Tess Gerritsen at Murderati, I decided to read PD Martins comment recommendation of Renni Browne and Dave King’s Self-editing for Fiction Writer’s and Donald Maass’s Writing the Breakout Novel.

I started with Maass, though not with Writing the Breakout Novel. It was not available at the library so instead I picked up The Fire in Fiction: Passion, Purpose and Techniques to Make Your Novel Great.

A wonderful thing about writers is their generosity in sharing what they know, in telling you what works and what doesn’t. This is a bounty that doesn’t happen nearly as often with the non-writing arts.

What troubles me is that some writers, and even more often agents and editors, take on a hectoring note in their admonitions.

Immediately, Maass manages to instill doubts in me over my motivation as a writer. His introduction alone had me feeling rejected rather than guided. Why? Because he divides writers into two groups: Status Seekers and Storytellers. If you are a Status Seeker, you are a loser and if you are a Storyteller (and don’t bother your agent and editors too much) you are gold.

So, before the book fully begins you are asked to put on the sorting hat and if you are Slytherin fuggetaboutit. But what if you are a whole lot Gryffindor and Ravensclaw, a little Hufflepuff AND some Slytherin? Suppose that this week you are wearing your Slytherin robes because you need to find an agent or publisher, or at least do something toward getting your work out there? Maybe it’s ready, and maybe it’s not, but the only way you’re going to know is to give it a shot.

Mr. Maass, as an agent, is an arbiter. He decides yes or no constantly in his day job. Perhaps he can’t help making things black and white. To be fair, I agree that if you live to tell stories you are more likely to keep on doing so no matter the height of the pile of rejections. But even the most devoted storyteller, the most dedicated to developing his craft, needs readers. Without readers Storyteller may as well not write. Storyteller needs to get noticed so that readers can find him.

I’m sure Mr. Maass knows this and wanted only to help Young Writer along the path of love and passion for story and it’s crafting, but he obviously managed to get up my nose with the tone of his introduction. For now, I’ll keep reading, but I’m wary and not fully on board.

Disclaimer: No I have not submitted anything to the Maass Literary Agency — yet.

Note: In the cool light of the morning I found I liked the Practical tools at the end of the first chapter quite well.

Wishful Thinking

Crumbling Beauty

I breath a sigh of relief

that after all it was Margaret

and not Louise.

For who would try to measure up

to Margaret,

whereas Louise –

Louise may still be within reach.

Cold Feet

No, folks, it’s not the weather. The weather is skimming along normals for this part of the country and I can live with that. What is harder to live with is my inability to write. I had this great idea for the next novel; science fiction, time travel, good theme. The trouble is that the story insists it will be set in 1939 Munich, Germany and in 2325 Zurich, Switzerland.

All right, I have enough German to fake a bit of dialogue for authenticity sake, but I’ve never been to either Germany or Switzerland. “Google,” I said to myself. I’ll go to Google Maps, find Munich, look at the satellite view, zoom in and google down the streets and by-ways. Trust me this is much harder than it sounds. Yes you can see the streets, but were there apartment buildings on this street in 1939? What building in Zurich can I tear down and in it’s place construct the architecturally imposing home of the Chronos Project? When Christof emerges from his apartment building on XXX Strasse and heads into alleyway, to meet the dark eyed man who will sell him his child, the things he (and I) see must have some correlation with the reality of the time period, in this case, 1939.

Sigh. I’ll go put on an extra pair of socks. Maybe that will help.