Coming Unstuck

Last night I breathed a huge sigh of relief as I finally, finally, FINALLY finished chapter 14 of Resistance!! I sat down to write for an hour; two hours later I called it quits and the dreaded chapter was behind me after nearly two weeks of halfhearted attempts resulting in paragraph length progress at most.

If you’ve been following this blog at all, you know that Resistance has been a slow process in and of itself due to many reasons that are explicated elsewhere in the blog. But chapter 14 holds a special place in my heart as being especially difficult. I felt the writer’s block coming back. I was avoiding my computer and second guessing my ideas. For the first time in a long time, I made excuses not to write and let myself use them. These are the components of an unhealthy relationship with the manuscript. There is a large difference between taking some time to actively think about the next move for your story and just taking some time off because you “don’t feel like it.” Just like it becomes easier to get in the habit of writing regularly, it is easy (if not easier) to get into the habit of not writing. So last night was excellent for me–I overcame what could have been a potential writer’s block event and rekindled my interest in the story now that I am over this hurdle.

There are some legitimate reasons (besides just falling into a lazy spell) that this chapter was so slow coming. First of all, I struggled with pacing. I had so many events I wanted to cram into this chapter. I knew the initial scene and the final scene I wanted to set. Thus, I became frustrated sorting out how to deal with all the events that needed to play out in between chapter end and beginning. Essentially, the chapter was to encompass an entire day, starting in the early morning and concluding 24 hours later. Major events would be happening in the early morning and late night of the day. While I had a rough outline of what Mara would be doing during the day, my mind couldn’t place enough significance on these events to flesh them out for the text. This is where the halting writing habits commenced.

The answer to this pacing problem was obvious and took me an embarrassingly long time to come to. Simply do not write the parts of the day that aren’t sparking interest. If they seemed boring and superfluous to me as a writer, they certainly would to a reader. When reading a novel, every single event of every single day is not related–this is the very essence of pacing. My hang-up was that I felt the potential to incorporate importance into the events that I ultimately decided to leave out. However, in the future I can always come back and add details or scenes as necessary. The important thing for now, I realized, was to get the chapter written.

So I cut out the chunk of events that was holding me up and segued from one key scene, building up suspense and then arcing it back down, to the next end of the day scene where I once again started the build-up of suspense. The chapter climax came at the end, and will hopefully keep the reader hungry to turn the page. Ending chapter 14 has certainly given this writer fuel to keep the story alive.

Realistic Speculation

I’m at the point in my writing that I am heavily into the scientific side of my story.  Resistance has generally been living up to its title and being a very slow writing process, and now is no exception as I am having to once again do research. The story has cycled back to the Meditrinum mutation and since it is at the forefront of the story’s conflict, I have been doing research about DNA, the cell cycle, mutations and the construction of treatments once again.

I think research is fascinating and I actually enjoy that part of the process as it allows me to write more freely when I am well versed in the topic. However, I am struggling right now trying to decide where to draw the line between speculation and facts. Since my story is set in the future, I have some flexibility with the scientific aspects of the situation. Yet, as I have mentioned before, I want the story to be believable, for people to read it and pause to think, “This could be not so far off from where we are now.” Thus, I want to create a perfect mix of facts and fantasy.

The challenge continues in the fact that I challenge myself and want to know what is most likely too much about the subject. I was researching how vaccines are made and found myself on a website describing the preparation of chemotherapy. This was not exactly related to my research but I had to read it anyway. It’s always a good thing to know more about your subject than you need to, but I also need to remember to make the technical details accessible to readers as many of them are not likely to head to Google and delve into a full scale investigation.

I am hoping I can find that balance in all these areas and get past this particular scene because I have some really exciting ideas backing up in my head behind this one research-contingent scene and I can’t wait to let the floodgates burst.

Anatomy of a Denial Letter

Usually there isn’t much to a denial letter. They tend to be single-celled organisms consisting of one line of text with some variation of, “this isn’t for me.” However, last week I got a really good denial letter (if one can consider such a thing to exist). It is always gratifying to hear why the manuscript you slaved over for eternity and the query letter that took nearly as long to perfect aren’t “for” someone. So today I am going to share this more detailed denial along with some of my thoughts.

“–There is a lot of telling instead of showing. Telling informs the reader but also distances him/her from the story. For example: “She listened to music” is very different from “She tapped her leg to the beat of her favorite song.” One tells while the other immerses the reader in the moment.”

I think this makes a very valid point. Definitely something to look out for while editing. Although, I think this might a more prevalent problem in the beginning of Capacitance as I was not truly in my narrative stride. Good red flag to go back and look for!

“–There is a lot of backstory–information given solely for the benefit of the reader that does not fit with the character’s natural thought patterns. Decide what’s essential, what you can reveal later, and what you can cut. A lot of the internal and external dialogue is unnatural. Try to write the way real people think and speak”
How does one find the balance between drawing the reader in and not giving too much backstory too soon? The struggle! However, I am getting this a lot when I do get feedback–that too much of the plot happens too soon. It seems to be conflicting advice sometimes. One guideline will say “immerse the reader in the story” while the other says “don’t give away too much too soon.” Frustrating, but since I have heard this critique more than once a restructured opening might be something to consider. I really disagree with the latter portion of this section. Yes my character’s internal and external dialogue is more elevated than what today’s average person uses. However, this is a world building element. The students of the University (especially Meditrinum users like Mara) are more elevated than the average being. They are smarter and more mature and thus use speech that might come as “unnatural.” Perhaps I need to drive this point home in the text–the University is selective and its students are above average. Unfortunately no non-University characters come into the text for awhile; maybe that could be something to add for contrast.
“–Your character’s name is overused. Use the name sparingly, especially when “she” would suffice.”
Solid editing advice. I never would have thought of this problem on my own, but when I read it I definitely felt like it was a true statement. I will definitely scan the text and correct overuse problems.
–Adverbs are overused. Adverbs should be used quite sparingly in fiction writing. It’s considered a “no-no” in the publishing world. 
I had heard this once before, and hearing it again saddens me. I love adverbs, but lesson learned. I will go back and revise accordingly.
“We think your story idea has merit and encourage you to continue revising it.
We wish you the best of luck in your writing endeavors!”
Nice end note that doesn’t feel like it is part of some automated response! If only all denial letters were like this… 🙂

The Dreaded “R” Word

I’ve come to a depressing but expected realization that is part of every writer’s journey–I need a rewrite. After getting denial after denial, it is time to look at the manuscript itself. I got an especially detailed denial earlier this week which contained some great, constructive feedback and I realized I am making some mistakes in my writing that turn agents off to a manuscript in a second. But..more on that next week.

I have to admit, it is a really daunting prospect to rewrite Capacitance. Even during college, I was never good at revisions. I wrote my papers really solidly the first time around and turned them in–usually for an A. So this will be a challenge for me. Obviously, trying to stand out and get published in a sea of query letters (not to mention the over-saturated dystopian genre), I need to do more than a really solid first try.

In the feedback I have gotten, a couple of themes are really standing out to me, and that is what first clued me into the idea that I might need to rewrite. It might be just a few first chapters that need to be restructured, it might need to be more. I am nervous about starting to try, worried about diving in and making it all worse. I’m sure these are normal fears that every author goes through, but they are tough to overcome!

So that is where I am at right now. I am not going to continue querying until I at least have the first three chapters rewritten. Then I can see if those get more results. Before I can start rewriting, I have to put myself in a strange position of distance from the material while at the same time examining it closely. It can’t be “my baby” as I  have to think critically, but I also will be turning it over and looking at it from all angles.

It’s kind of like overcoming writer’s block a second time around, but I know I will overcome it and take on the challenge!

Beauty & Simplicity–James Herriot

About this time last year, I was out of things to read–a mournful and derelict feeling for a book addict like me. I was moping around my office disconsolately and asked my Dad what he would recommend to read. He went over to the office shelf and pulled out All Creatures Great and Small by James Herriot. At first I was skeptical. A book about a vet? I won’t be interested in that, I thought to myself. But Dad insisted it was a good read, and I being desperate for a read, took it off the shelf.

Almost immediately I was taken in. Herriot’s simple prose in which he tells his story is compelling and entertaining. His insertion of humor is wonderful. It feels like you are sitting with someone listening to their stories. The organization of the story is anecdotal, so the story line is not continuous, but this adds to the overall effect of familiarity the story presents.

Overall, I would recommend Herriot’s work to anyone–even if they are as skeptical on the subject matter as I was. His work serves to remind us all that sometimes the extraordinary can be found in simplicity.

Keeping It Real

Just a moment ago I was composing a tweet and it inspired today’s blog post topic. For those of you who don’t follow me on Twitter (you’re missing out! 🙂 ), here is the tweet minus the ubiquitous #amwriting hashtag:

“Sometimes I worry about needing to keep my story too realistic and forget that sometimes characters need to be larger than life.”

As I was typing the tweet, I was impressed and surprised that I was able to gather that thought into 140 characters. Thus, I realized it is a topic worthy of a blog post. As I write I find myself wondering if the binds my characters get into and–more importantly–get themselves out of are too far-fetched. This is writer’s self consciousness manifesting itself in a new way, and it must be battled. However, there are so many times in books or movies where I find myself rolling my eyes as the main characters find themselves embroiled in some fantastical situation or achieving feats that are simply hard to fathom. Am I the only one that does this?

So I think it is a fine line to tread. While I certainly don’t want my story to be boring, I don’t want to add one harrowing situation+dramatic save too many and have readers become skeptical. Hence the last portion of my tweet. Characters are supposed to be compelling. Stories are supposed to be entertaining and transport us to new worlds. Every story needs to have a bit of magic. Magic doesn’t have to be spells and wizards. Magic can be the heroine grabbing the rock that conveniently appeared to be jutting out of the ledge she was just shoved off.

In conclusion, I am going to try harder to embrace the license we as writers are given. The license to use our magic and weave a tale that entertains, compels and allows readers an escape to imagine the impossible.