Investment in Your Art

Zack mentioned recently watching the documentary It Might Get Loud. I watched it last night and even if you don't know anything about Jimmy Page, The Edge or Jack White, you can draw some great conclusions about art and artists from watching this movie.

It's clear to me that those three musicians are masters at their art because they will never stop learning, absorbing and innovating. Music Always Comes First. And none of them rest on their achievements.

It makes me realize with sheepish shame that no matter how much I profess to love writing, it's not--at this moment--paramount to my existence. I put other things before my book--including writing this missive. While I've moved some priorities around in the last year, there are more that could be nudged aside, reduced or eliminated to make that much more time for my book.

I'm not saying that all you need to do is live and breathe your art and you'll get accolades and financial rewards. A lot of that involves the fancy of those in acquisitions and the whims the public. But if my art isn't top of my priorities, I shouldn't be surprised when I don't make progress. Level of commitment will be reflected in the level of progress toward getting better in our craft.

The more you do anything, and the more frequently you do it, the better you get. True, we can't all be Shakespeare, but we can all take our particular gifts and take them to the highest pinnacle we are meant to attain. Sales or praise don't reflect this. Only you know if you could be doing more or aiming higher.

If you've ever followed Julia Cameron's The Artist's Way, you know this mantra, directed toward the source of all creativity: You take care of the quality, I'll take care of the quantity. Quantity of time and effort we put into our creative efforts is, really, all we can control.

A Novel Dilemma

Can one seed spawn a forest?

I am faced with a dilemma that affects every writer at some point: when does a story end? Without going into great detail, I developed a story around a central hook, began to see the two main characters, could hear the one's voice as clearly as Watson did Bell, and all seemed right with the world. Well, the story anyway. Of course, I hadn't started writing it yet, but I plotted and outlined, looking for an ending, unsure which way the story should go.

It didn't matter. The story decided for me.

Those two characters spawned a third, their opposition, the protagonist in most ways. A B story took shape, less defined than the first, but more compelling, optimistic and driven. It gave the story and this new character purpose--Unlike the other two, suddenly reduced to comic foils, observers, participants in a sinister world.

How exactly did my little short story grow to novel length without my permission? I don't want that. I generally prefer the short-story format. I feel I work best in it, getting my philosophical points across, snippets of life and character melded into one neat package. This story, this lengthy tale of tens of thousands of words, is denying me that privilege. That joy.

But isn't that the purpose of the novel? To be unwieldy and cumbersome before finally taking shape? Before coming to the neat final draft reader and writer should both enjoy?

Of course, I still don't have an ending. That in itself is unusual for me, where endings leap out long before the middle.

I miss my short story and wish I could put the genie back in the bottle, or perhaps to keep our earlier metaphor going, to trim the hedgerow to topiary garden. That is long gone; the weeds are sprouting, the acorn planted. I guess all that's left now is to enjoy the forest for the trees, hoping not to get lost along the way.

But damn! That dilemma remains...

Third Thursday Review

We reviewed three of the four manuscripts in front of us. Unfortunately, David was unable to attend, although we discussed the locations and historicity of his piece in absentia. Several members of the group wanted to visit Hermits Mountain and learn more about the subjects in question. We critiqued works from Zack, Sandy, and Jerri Lynn, paying special attention to the night's topic: creating characters.

Characterization:

The goal is to make characters real. Even in fantasy and mythical stories of legerdemain and imagination, characters must be real and identifiable to the reader. They don't have to like them, but they have to understand them. Tips in developing full-fledged characters:

• Study people you know. Base characters on them. What can you capture? What stands out? What fits your story? Observe the way they speak, move, dress. All of it creates believable characters. Of course, don't be afraid to create an amalgamation of people. Pick and choose personality aspects. Find what works for you, the story, and the character in question.
• Create a character sheet or bio. A popular technique for novelists and screenwriters. Make a list of characteristics, from physical appearance to likes, dislikes, family members, education, and career, but include personality types: happy and sad are vague, but ambitious, greedy, miserly, philanthropic, gregarious, etc., are not. If he's angry, then angry with what? If phobic, by what? Include details until you know this person inside and out. Keep it in list form or write it up as a two or three page (or more) bio. Your bio sheet can be comprised of snippets and slugs, but it must present a complete character.
• Let characters develop or control them? Some characters simply take on a life of their own, developing characteristics and goals you did not imagine. You can either explore it with them or curtail it. A tough call, with no right answer. Do what works for the story. Generally, you'll want to develop this new trait. There's a reason your creative side thinks it's a good addition to the story.
• Historical fiction and memoir. Two sides of the same coin. Unless writing alternative history, Napoleon can't win the Battle of Waterloo, but you can describe his emotions on the battlefield and his feelings regarding his loss, imprisonment, the French people, Josephine, and his Corsican home. Do your research; don't stretch the bonds of plausability. If writing about the common man of history, don't inject the impossible into a character's personality, knowing what he couldn't know or doing what he could never do.
• For memoir, main characters have to stay true to the story, but minor characters, cab drivers and waitstaff, can be dressed up and made interesting.

A word on implausability. Only dichotemies are interesting. An atheist priest hiding his beliefs from the Spanish Inquisition is unlikely, but compelling and not impossible. A poor Southern farmer helping a runaway slave because his religious conviction tells him to is unlikely, but compelling. A woman on a long stretch of country road picking up a young male hitchhiker is unlikely, but compelling. Examples abound. Just make sure their actions are in keeping with the character you have created. Whatever character needs to be believable is motivation. Maybe creating a compelling character is motivatin enough to write, and motivation enough to keep the reader coming back to your story.

Third Thursday Preview

Time to gear up once again for our final meeting of the month and our last before the unofficial kickoff of summer. Hopefully as the weather gets warmer attendance will stay hot. This time of year tends to see a precipitous drop off, but given our production over the past few months, which has remained strong despite doubling our meeting schedule, I'm sure we can avoid the summer slowdown.

With the pitch over, we'll be reviewing works from Zack, Sandy, and David, and re-reviewing a piece from Jerry Lynn. One novel, one comedic short, one local history, and one memoir. We do love our variety!

No idea what's on the docket businesswise, which will be up to Kay. Could be a surprise to the rest of us, however.

And sorry I haven't been keeping up with the posts, everyone. I've been buys with plenty of other projects. I will try to do better in the coming weeks and months.

See many of you Thursday night!

Details: 7-9pm, Holden Room at Crandall Library. Optional social afterwards.

First Thursday Review

We kicked off a warm May Day meeting with two lengthy, though not very heated discussions on e-submissions and meeting biweekly instead of once monthly. It was decided that people can email submissions but must bring 4 paper copies for those who prefer doing it the old-fashioned way. We will also continue meeting twice a month, a surprisingly popular notion given some recent grumblings.

We also reviewed pieces by Montana, whose allergies had her at death's door, Zack, Bill, David, and Kay, plus Ann Marie's return from four weeks ago.

Brian and I also discussed our separate experiences with the Hudson Children's Book Festival.

All in all, I found the meeting to be a rather pleasant mix of business and critiquing.

When we meet in two weeks (by popular consent!), we'll review pieces from Zack, David, Sandy and Jerri Lynn. See you on the 20th!

First Thursday Preview

A five-Thursday April means we haven't met for an unusual three weeks. I hope everyone remained productive during their extra week.

We'll be reviewing an essay from David, a short from Bill, and a rare piece of prose from Montana. We'll also critique Kay's return to Bradford Falls and Chapter ??? from Zack's sci-fi, Oedipal-embracing, death novel.

Brian and I will likely discuss the Hudson Children's Book Festival for its business rather than literary merit. Then we'll dive into the big topic of the the past three weeks, the elephant in the room: the value of e-submitting. It's become popular and certainly piqued the interest of more than a few members. What does it mean for us, and where does it mean we're heading?

Should be fun, tense, potentially heated and the sort of business-driven discussion I'm thrilled we're undertaking. See you tomorrow night!

Details: 7-9pm, Holden Room at Crandall Library, with optional social afterwards.

Meeting Your Heroes

I've been reflecting throughout the day on something the late George Plimpton (Paper Lion, The Paris Review) once said, "Meet your heroes; you won't be disappointed." I've met all my heroes extant save one, and he turned 91 today. Now, I had a chance to meet him a decade ago, but passed on the opportunity. What would I have said to a man who met Martin Luther King, battled Joe McCarthy, and been on the right side of more issues than I can coherently discuss?

I regret not taking advantage of that opportunity, vowing never to let such a moment slip through my fingers again. Which is a roundabout way of getting to the point and tying it to writing -- Brian and I attended the Hudson Children's Book Festival this past weekend, he to explore YA, and me picture books. I'll let him write up his experience, but as for me, I was determined to speak with Nick Bruel, author of Bad Kitty and a host of sequels.

Bad Kitty influenced me when I first turned to picture books. It's an alphabet book that's funny and smart and works for children and their overread alphabet-book parents. It contains adult concepts and phrases but the working is so fluid, flippant, and quick that kids go along for the ride. What crazy thing will Kitty do next?

I told him how Bad Kitty shaped my approach to a picture book I was writing at the time. It didn't change the story so much as gave me the courage to keep the occasional adult phrase or concept present. To not fret so much. To recognize the connection between pacing and content. Nick and I briefly talked about picture books, the business, publishers, and so on. We discussed the structure of Bad Kitty, and how another book of his, Bob and Otto, came to be.

At one point, he asked me what my book was about, that is, how it related to Bad Kitty. I told him as if I was pitching it to a publisher. He stopped for a moment, his mind working, and then he said, "That's really clever. Very clever." He then talked about the art of getting an agent, about his process, and how I need to get one, too. The book is, as he noted, "different."

I thought about what he said later that afternoon, and then thought George Plimpton was right. "Meet your heroes. You won't be disappointed."

Later that day, I met up with an agent, Wendy Schmalz, I've met before. She doesn't handle new picture book writers, which is too bad, because I think she'd be great to work with. But the synchronicity of Nick telling me to get an agent five minutes before I bumped into Wendy made me all that more determined to keep working until I find one. I've been approaching publishers who accept unsolicited mss, but now I shall be approaching them and agents. I have always been determined to see these books see the light of day, but now have a different strategy for doing so.

Which means it's time to stop tapping on these keys and start knocking on some doors. Thanks for the kind and sincere words, Nick. Now Bad Kitty has encouraged me twice.

Critiquing in Review

For anyone who missed the last meeting, lost Kay's handout, or is just stopping by our site, I'd like to give a quick overview of editing, at least as it works for the GFWG.

1. Be Honest. If a piece, a passage, or a word works for you, say so. If it doesn't say that, too. Platitudes may be nice, but they make for poor prose.
2. Be Specific. State why it works or doesn't work. This is powerful is better than This is nice, but is worse than This is powerful because we sense the main character's angst.
3. Be Helpful. It's okay to mark up a work extensively, but don't destroy it. Try to give the writer suggestions or direction.
4. Be Accepting. Don't convince the writer to write the story you would have written. Work within their framework regarding plot, character, genre, etc.

Specific things to look for when critiquing:

1. Beginning, middle, and end. Difficult with a novel submitted in segments, but do what you can to look for a story arc, and remember that even scenes and chapters need some sense of completion and fullness.
2. Authentic Language. Not just for the author's voice, but for characters and the piece as a whole. Is it in keeping with the genre and tone? Hard-boiled detective novels aren't literary in tone. Jane Austen didn't write like Mickey Spillane!
3. Tension/Conflict. Is it present? Is it tense enough? Is it resolved too quickly?
4. Anything unnatural? Is there anything out of place? Does anything jump out at you? Is there anything that pulls you out of the story?
5. Flow. Does it flow properly? Are the words jaunty or uneven? Not just author's voice, but word choice, sentence structure, segues, etc.
6. Details. Is it too detailed? Are you getting bogged down in minutiae? Is it not detailed enough? Are you wondering how we got to point C without points A & B? Don't be afraid to let the reader fill in details, but give him something with which to work!

In Group

1. Focus on the big picture. No need need to mention grammar, misspellings and the like. Mark them on the paper but focus on more pressing matters at the meeting.
2. Discuss the work. Don't digress into guesswork, author motivation, what might have been meant, and philosophical implications. Focus on the project at hand. Some broad topics might be open to discussion, with expressions like existensial, gloomy, pervasive and the like OK, but stay on topic. No guessing, especially with the work (and the author) in front of us!

Well, so much for brief, but I hope this covers everything (and maybe a bit more) from Kay's sheet. Thanks for your input everyone!