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!

New Week, New Strategies

This week I am starting off with some new strategies for querying agents. Referring to my post on writing dystopian, I feel like it is going to be difficult to find the agent that is searching for that particular genre. However, they are out there, I just have to find them!

Today I googled “literary agent dystopian,” and got some hits. While I didn’t check out many links today, I did find an agent who loves dystopian worlds and immediately made out a query letter for her. I think this is a better strategy than I have had previously where I would search good agencies and then go to whatever agents were available there, regardless of whether they specifically said dystopian. I also plan to use this strategy with the New Adult category. Since that is a growing genre, surely I will be able to find agents specifically searching for it.

Another new strategy I am using quite frequently is the Writer’s Digest new literary agents spotlight. I am on the fence about new agents. For one, they have less experience than more established agents. However, they are more actively building their client base. For me, it’s definitely worth a shot. I am a young writer with little experience and if a similarly young agent wants to take a chance on me, I’ll take a chance on them. I will definitely be referring to the new literary agent spotlight list from now on. Not only for the agent information, but also because it leads me to other agencies to explore. For instance I clicked on a new agent profile, then linked to her agency website and from there ended up querying another agent and heading over to a new agency’s website that was listed in the bio of the agent I queried.

Using these new strategies, I am looking forward to heading into a productive week of querying and writing. Happy Monday!

Writing for a “Dead” Market?

I’ll admit it, I’m writing dystopian. The first step is admitting you have a problem. While many people still thoroughly enjoy this genre, the market for it from a publisher’s perspective is (as far as I can tell) pretty dead. The number of denied queries I am amassing speaks to this fact. So what does a frustrated writer do in this situation?

First of all, it’s even more frustrating because I understand the situation completely. Knowing the principles of basic supply and demand as well as the way trends go, it makes total sense that savvy literary professionals such as agents and editors are not jumping at the chance to grab more titles that boast corollaries to the wildly popular (currently) Hunger Games and Divergent. Instead agents and editors want to snatch up the next big craze, which will certainly be in a totally different and unexpected genre.

So I get it. But I don’t want to stop writing the story I am trying to tell. I didn’t decide to write about Mara and Runey because I wanted to write the next Hunger Games. Despite what the genre may suggest, I am not writing for a trend. The story came to me and clamored to be told, so I am telling it, despite its marketability with literary professionals. I have read many articles and blog posts that say “shelve your dystopian/paranormal projects,” but I disagree. Personally, I don’t like to leave work unfinished. Especially something as near to my heart and soul as my writing. It would feel like more of a failure to shove Mara and Runey in a drawer than even if they never make it to the bookshelves.

Thus, the writing goes on. So does the querying. I have nowhere near exhausted my list of possibilities for getting published. Somewhere out there is surely an agent who will be as enthusiastic about my project as I am. I just have to be persistent until I find that person. Writing novels and querying is also good practice. Should this project end up shelved once it’s finished, at least I got the great experience of writing a trilogy and getting to know the professional side of the business. It will be great experience for my next book. 🙂

There is hope when writing in a “dead” genre. One of my friends that I met at the Las Vegas conference wrote a paranormal romance novel (the same genre as the supposedly played out Twilight sensation), and she just landed a book deal with publication coming in 2016. Read about her story here: http://linkis.com/www.cmmccoy.com/blog/p4Ia8 . And if you’re writing in one of these hard to sell genres, I would love to hear your story/strategy! Above all, never give up on your self as a writer or your story.

Updates in Life and Writing

Hello all! I have been gone for quite an extensive amount of time as I was on my family vacation to Colorado. It was a great time and my Dad, Uncle and I ended up summiting nine 14ers (mountains over 14,000 ft. high!). While I did not get any writing done during the trip as my time was spent either climbing, eating or sleeping, the trip was great for meditative purposes. Being in Colorado was also interesting for exploring more of my setting. This is a fact that I tried to make rather subtle in the books, but the setting is based on a post-apocalyptic Denver area. I have always loved Colorado and the mountains, so I wanted my book to be set here in this MidWest/Rocky Mountain region. I don’t digress down this line of thought often as I like readers to engage with the characters rather than the history of their setting. However, I like to think that the Midwest would be the obvious place for a post-apocalyptic world to be set in–a major world crisis or war would wipe out the coastal metropolises, thus people who survived would be centrally located. This is about as far as I will go right now on that line of thought as I do want the history and what happened to create the world Mara and Runey live in now to maintain an aura of mystery so readers can ask and fill in their own questions.

While my thoughts on the trail didn’t focus specifically on Resistance itself, now that I am back I feel like some ideas and themes have really settled themselves in for me. Taking a break from the story was definitely a good thing; as I have mentioned, it has gotten very dark and getting away from that for a bit was good mental relief. However, I would be lying if I didn’t say this book is causing a lot of pressure for me. Resistance is the last book in the trilogy and i feel like there are a lot of loose ends to tie up in a powerful, elegant and gripping way. This is a trifecta that is hard to achieve. However, by setting the scene of the first few chapters as so dark and heavy, I think I have done the first step in giving the right tone for an elegant yet gripping finish. Now I just need to get back in the swing of writing! This is my first year of being a serious author, and I have learned a lot so far. One of the most important things I have learned is that I am definitely going to be a writer who has “seasons.” There will be times of the year (summer!) where I don’t get as much written, and I need to accept this. It doesn’t make me a better or worse author and it doesn’t make me lazy. Finding a balance between life and writing is a delicate process and I am gradually learning to realize that my winter page output is simply going to be more than that of my summer output.

Finally, I did contact the agency who had requested my full manuscript. Their submission guidelines said to do this if two months had passed without a response after a manuscript request. I have heard that you aren’t supposed to be too hasty with follow-up as it takes agents a long time to get through their piles of slush, so I was very glad the agency website had such specific guidelines about when to touch base. I haven’t gotten a response yet, so the waiting continues! Some things in my personal life are starting to come together for me, so I am hoping the agent hunt can be another thing falling into place! Wish me luck! 🙂

Chapter 8 & 9 Musings

Before I write these author responses to my posted chapters of Capacitance, I always go back and re-read the chapter for a refresh (it’s hard to remember what I wrote nearly two books ago!). When I went back and started reading Chapter 8, I didn’t get through the whole thing because there is a point that I really wanted to make in response to my saying that some people aren’t perceiving Mara as a likable character. In Chapter 8, we see Runey making an effort towards Mara (despite his own mental distress). Although she is standoffish towards him, he still sticks up for her with the other group members, then even in his own mind he finds her strengths behind her weaknesses. While Mara may not be the most likeable person in these first few chapters, Runey’s perceptiveness allows the reader to perhaps view her differently than their first impression. Not only does it shed light on the potential for connection (another “Capacitance” term reference!) between the two, but it also demonstrates how perceptive Runey is–Runey’s inner monologue helps build strengths for both characters.

Chapter 8 is all about people’s imperfections. Runey explores Mara’s flaws and finds the strength behind them, and then he betrays a weakness of his own. How can we blame Runey for taking Juleia into his room when he finds her in his dorm hall? Runey’s response lends a human element to his mission to get to Mara–to be human is to err, and Runey becomes more complex as he is not completely perfect. The imperfections continue in Runey and Juleia’s exchange in bed. Here we see why their relationship might not have been perfect even were it allowed to continue. Juleia harbors jealousy–a fact that is not new to their relations as Runey is well versed in dealing with it. Through this exchange the reader is invited to go back in time and imagine how Runey and Juleia were before the story began, and hopefully they begin to wonder if Juleia was truly good for Runey in the first place. The questions brought up by Chapter 8 are many that we as humans are familiar with, and as always, it is great to lend more humanity to one’s fictional characters.

Chapter 9 is a nice parallel to Chapter 8 as we see Mara thinking about Runey now instead of vice versa. It is easy to see the correlation and differences. Runey and Mara are both fascinated with the others’ physical appearance and physical imagery is what dominates their thought processes at this time. However, whereas Runey is having to train his mind to focus on Mara, Mara’s mind is wandering to thoughts of Runey of its own free will–much to her consternation. The differences continue as we compare Runey and Juleia–clearly two people who crave a relationship in their life–to Mara’s feelings on the matter. When she meets Langdon in the elevator, the scene drives home for the reader even more that Mara is not interested in dating and sees the whole business as trivial. Possibly the reader is anticipating that, given Mara’s viewpoint on love, Runey will have a hard time achieving his mission.

Now I am going to switch gears entirely for one final train of thought–Mara in her lab. People have asked me how I make the lab scene sound so convincing and wonder if I have taken science classes or spent time in a lab myself. While I am very flattered that my prose comes off so convincingly, I must say that my best preparation for writing these scenes was from watching a lot of movies, reading a lot of books, and perhaps a Biochemistry 110 class during my college years (although the associated lab was much below Mara’s standards!). Imagination came into play as well. Writing science fiction, a writer has a certain amount of license. While I didn’t want my story to be too “tech-y” or futuristic, I did want it to contain some speculative elements. Thus we have slide drives, DNA sequencing programs, etc. Perhaps why this sounds so “convincing” is because the technology is not too outlandish, and I try not to lose readers by launching into an epic exposition bit where I explain the history, implementation, and meaning of all devices used. Last note: I nearly passed out writing the sequence where Mara draws her own blood. LOL. But seriously, I do not do well around needles/blood/hospitals in general. A fact which kept me out of the fascinating field of medicine, but allowed me to pursue writing instead. 🙂 Book review coming tomorrow, stay tuned!

Capacitance: Chapter 9

Back to back Capacitance  chapter posts? Lucky, lucky followers! 🙂 I just hit 200 likes on my Facebook page over the weekend!! Thanks for all the support, I truly appreciate it! As always, if there are any comments or suggestions you have regarding Capacitance, I would love to hear them! Enjoy your Monday, and enjoy Chapter 9!

Chapter 9

As one who was not a frequent drinker, Mara was feeling the effects of the previous nights’ wine in the form of acute pain in her stomach and head the next morning. On top of that, she felt even more pessimistic about her lab discoveries; Travers’ words came floating back to her like some kind of horrid nightmare, “In this kind of hostile takeover mutation, we are talking death within days or maybe a week…” and “it could be possible for cells to mutate on so many levels that the Meditrinum would be unable to catch up with the repairs…” Mara knew her mind was mincing what Travers had said into a tabloid-hysteria, worst case scenario summation, but she couldn’t shake the impending sense of danger, and the enormous sense of pressure she felt to find and solve the problem immediately. A small voice in the back of her mind coyly whispered that maybe she would go to investigate the mutation and find that it was nothing serious, and all this panic was for nothing. Mara knew she couldn’t take that voice seriously, but she let it play in her mind, providing some sort of floodgate to the rising panic.

As if he was able to read her mind, Mara suddenly received a message from Travers, ”Hope you’re doing ok today, and I’m not just talking about the after effects of the wine! Remember, Mara, you can always come to me about anything. I’m here for you. –P.T.” Immediately after receiving that message, another one from Travers—an afterthought—dinged into her inbox,
“Oh, and, Mara, don’t forget what I said about Runey. –P.T.”

Mara sighed; the last thing she needed to think about in the wake of this crisis was unprofessional, arrogant Runey with his interesting combination of olive gold skin and red hair, deep blue eyes, and that infuriatingly distracting half smile—cursing, Mara shook her head in frustration. Without even meaning or wanting to, she had been distracted by Runey; Travers did not understand that this was a very bad thing. She had no time for distractions, especially now. Whatever Runey’s elusive allure was—which she still couldn’t wrap her mind around just what it was—she needed to avoid it at all costs. This was one piece of advice from Travers she simply couldn’t follow at the moment.

She pulled on the jade green silk robe once again as she padded across the deep, snowy shag of her bedroom rug and through to the cool, gleaming hardwood of the kitchen. She depressed two slices of bread into the toaster, and poured herself a glass of orange juice from the well-stocked stainless steel refrigerator. Once the toast popped up, she buttered it liberally to soothe her aching stomach. After allowing herself a leisurely amount of time for breakfast, considering the circumstances, she went to her bathroom to prepare for the day; she quickly emerged, imperceptibly less put together than the day before as she was on a time budget but still well dressed in an ensemble of rich burgundy and taupe. She neatly packed her lab files into a matching chocolate brown leather tote and headed towards her door. She had just twisted the knob when she faintly heard the loud ping of her phone back in the depths of her apartment. Mara walked back in scanning the shining black kitchen countertops, checked the white marble surfaces in her bathroom, and was becoming very frustrated when she finally found the phone submerged in the dove gray silk of her sheets. She tapped to open the messages and was very annoyed to read one from Runey, “Hey, Mara. I know we didn’t get much of a chance to talk yesterday. How about we meet up this evening? –R.”

She absolutely refused to message him back; she quite frankly did not have time to socialize with the distraction. Mara realized she had not responded to Travers either in her foggy, slightly hung over waking moments. Exasperated with herself and with Runey, on top of being anxious to get to her lab, she decided to put a moratorium on communication for the day. Tossing her phone back into the pile of twisted, shining sheets she thought wryly, Take the day off, buddy; wish I could too. Feeling slightly more liberated and focused without her phone, she strode purposefully out of her apartment to the elevator terminal. Her sense of focus was quickly shattered as Langdon entered the elevator terminal at the same time as Mara; there was no way to avoid him, and Mara cringed inwardly as he pressed the down button with a flourish and flashed his brilliantly perfect smile at her.

“Morning, Mara,” he said, awkwardly attempting to touch her arm at the same time as Mara instinctively moved away, “How was yesterday? As bad as you thought it would be?” he smirked, feigning a casual stretch in attempts to pass off his attempted pass at Mara.

Mara smirked back at him—he looked ridiculous trying to play it casual, “As a matter of fact, it was worse,” she said truthfully.

“Worse? Come on Mar,” Langdon said, having recovered his composure, “Yeah I know it is like we talked about, and they’ve tied up a lot of our time with this group thing; but it’s not all bad. I actually think it is going to be helpful in my future career to make connections. Plus, my group and I already started talking about our project ideas—we are going to strongly incorporate biochem, so in a way it is like I will have two projects to present upon graduation. Sure, I will have to buckle down and work some late nights to get my individual project done, but I think this group thing will put me way ahead of the game,” he continued as they stepped into open elevator.

“Congratulations,” Mara said shortly, pressing the ground floor button impatiently and then staring resolutely at the closed doors.

“That’s not the only good thing. There’s this girl from Design in my group—strawberry blonde hair down to here,” Langdon said slyly, touching Mara in the small of the back, “She has tattoos of a school of koi fish on her shoulder blade and down her back. I wonder how far down they go?” Langdon continued, assessing Mara coolly.

“Langdon, what is it about elevators that makes you lose every ounce of professionalism?” Mara asked, rolling her eyes.

“Jealous, are you? Well I have to get it somewhere, since I can’t have what I really want,” Langdon said jokingly, but Mara could sense the icy edge in his voice. At that moment she realized Langdon was actually serious about his feelings towards her—it was a strange sensation. She had always assumed that everyone saw love and relationships as she did, just a triviality and a distraction, not to be a serious consideration in one’s choices through life. Maybe I do need to open my mind to other perspectives, she thought. However, she wouldn’t be opening herself to Langdon’s perspective anytime soon. Even if she was interested, she was sure she would still find his approaches a little uncouth. The elevator softly settled on the ground floor and the doors slid open. Langdon was obviously unnerved by Mara’s prolonged silence as he said, “I’m just joking around, Mara. Why don’t we go get some coffee before labbing down?”

Mara was sorely tempted by coffee—she had forgotten to fill a thermos before she left her apartment, and she knew a hit of caffeine would chase away her last traces of the wine hangover. However, the thought of sitting down with Langdon—tedious in itself—and wasting precious lab time was not palatable, so she made a compromise, “How about we just grab some from the café on the way out of SciSky and take it to go? I really have a lot to do today and I need to get to it.”

Langdon visibly brightened that he got anything but a flat denial, “Sure! My treat!” The two walked across the atrium of SciSky; early morning light splashed across the various shops, salons and gyms and the calming splash of trickling water on the abstract glass and stone water feature filled the air. The busiest portion of the atrium was the coffee shop where the most ambitious Science students were already grabbing their coffees before starting their day. Langdon ordered for both Mara and himself (Mara shuddered internally when he knew her standard latte order without having to ask), and soon the two were out the wide glass doors and on their way to the labs. It didn’t take long to reach The Portal from SciSky, and Mara was glad of the short walk, and the fact that Langdon took a different elevator to get to his lab—she was growing tired of his double-edged small talk. After thanking Langdon for the coffee, Mara was glad to sip it in solitude as the elevator sunk slowly to her lab level.

Mara once again walked down the familiar hallway, punched in the familiar code and swiped her palm. She flicked on the lights in the lab and powered up the computers. By the lab’s entrance, there was a double-sided hatch in the wall where laboratory dispensary materials were placed when they were delivered; the techs from LabLink would prepare the materials, and send them with a courier to the various labs that had requested them. When Mara ordered the materials she had to assign a PIN code to her order and then program her drop box with that code. When the courier brought the sample, he keyed in the PIN code on a small keypad in the hall which opened the exterior door to receive the sample. The hatch was also climate controlled so the operator could set the interior temperature to sample specifications if necessary. Now Mara went and keyed in the code she had assigned to her LabLink dispensary order of Meditrinum blood samples; the metal door of the hatch slid open and cool air pooled out slowly onto Mara’s face as she reached inside and removed the plastic rack containing ten vials of deep red blood samples.

She reset the hatch to shut off the refrigeration and wipe the code, and then took her fresh samples to her main refrigeration unit. Now she had to prepare the samples to go through the sequencing program. Walking to the far wall of her lab, Mara threw on her long white lab jacket, opened a stainless steel cabinet and removed a box labeled “Blank Slide Drives” which she brought over to the main lab work station. The main lab work station was a counter height table on which sat a microscope and several racks of instruments. Mara sat the box of blank slide drives down next the microscope, and went to get the blood samples. The task at hand was to draw a sample of each blood type and insert it carefully into the slide drive. Slide drives were small, fragile devices made of glass and metal which contained a tiny computer chip; when this was inserted into the computer portal, data on the current state of the specimen could be seen and many different tests could be run on the sample. First, Mara inspected each slide drive carefully under her microscope, checking for cracks or defects—these were rare in slide drives used at the University, as the equipment here was of the highest quality, but it was important to check all the same as a crack could lead not only to the waste of a sample, but would also cause computer malfunction if inserted into the device.

The next step was to insert the sample into the slide drive. Mara used a syringe with an ultra-fine needle to remove a sample from one of the test vials of Meditrinum blood, and then, looking through her microscope, stuck the point of the needle into a minutely marked spot on the slide drive. This special entry point could only be punctured once, as it would self-seal infallibly after one initial puncture; slide drives had to be soldered shut in their earlier days, but the self-seal invention did away with that—Mara supposed she had the people in the school of Technology to thank for that. All in all, the process of preparing the slide drives was quite simple if one had a steady hand and sharp eyes; Mara had both of these skills, so quite rapidly she had slide drives from all ten blood samples. But she was not finished yet.

She didn’t know when she had decided to do it—she didn’t even know she had fully planned it until that moment—but suddenly she knew. She had to test a sample of her own blood. It’s not a huge matter, really, she thought, just another slide drive in the mix. But her feet seemed to drag as she made her way to the cabinet where she kept the sterilized biohazard equipment. I have to know. I just have to. This isn’t sinking in as real enough to you, Mara; you’re walking around in a daze, not treating this with as much a sense of urgency as you should. Once you see your DNA sequencing projection has a mutation, then it will be real. She grabbed a syringe out of the box of sharps and tore off its hygienic seal as she sat back down on the stool in front of her microscope. She found the vein and slid the needle in with a detached manner—needles had never bothered her, and if they ever had she was sure the fear would have ceased after a monthly injection since the age of four. The syringe filled slowly with her own Meditrinum blood sample; Mara waited until she had the same amount as the other vials, then smoothly pulled the needle out of the vein.

She deposited her sample into an empty vial, labeled it with an “M,” and tossed the used syringe in the biohazard waste can. Using a clean fine tipped needle, she drew some of her own blood and inserted it into an eleventh slide drive. She placed the slides into a special rack which she then inserted into a titration device. Five minutes of titration and the samples were ready to be processed into the DNA sequencing program. She brought the rack of slide drives over to the computer, opened the slide drive program and set up a report containing current blood data, current DNA sequencing, and projected DNA sequencing over a span of five years. Then she inserted the first slide drive containing one of the random samples from LabLink. The sample with her blood was purposely placed at the end of the queue. The computer could only process one report at a time, so it would take all day to collect all the results. She would have to be on hand to switch out the slide drives as the tests concluded; each test could take upwards of two hours, but Mara had never been one to be daunted by the prospect of a long lab stint. As the tests on the first slide drive began, Mara spun her chair over to the far left computer which was used for databases and research resources—she would spend her day combing the vast academic research files for all the available knowledge on genetic mutations and how to combat them, free of her phone, shut off from Runey and Travers and all other distractions.

World Building: A Daunting Task

As I move into my third manuscript (more thoughts on progress tomorrow), world building is on my mind. My characters have moved out of their initial setting, into the world beyond–thus, by default the world is getting bigger and more complex. When I started out writing Capacitance, I, of course, knew much more about the world my characters live in than the reader did (or even than some of the characters themselves knew!). Some people who read my story found this frustrating. I may have spoken about this in a post before, but it is worth mentioning here again; the reactions some readers have to the slow introduction to the world of Mara and Runey. They want to know it all from the beginning–the why, the how, the who… However, inundation is simply overwhelming to the reader. My answer to those readers who wanted answers and specifics and even an entire history of how the world came about is, “Be patient.”

My series is not a hard science fiction or a high fantasy. It is soft science fiction, speculative and a little dystopian. Thus, there are differences between the world of my characters and the world we live in today, but there are also many similarities. This makes it tempting for readers to want to ask how did we get there from here (being the present day). I love the fact that my work and the world the characters live in may bring up these kinds of deep questions. Any SF or Fantasy book whose fictional worlds can cause a reader to question or think deeply about the world they actually live in is, in my opinion, doing a fantastic service to the world of literature. However, how much of the reader’s questions we as authors will answer is a tricky line to tread. How much do we reveal without inundating readers while still satisfying their curiosity?

The answer, for me, lies in a micro to macro approach to the characters and their world. Capacitance starts on the micro level; readers meet the main characters on their campus and don’t know much else at first. As the story progresses, readers learn factors about the larger scheme of things bit by bit. I wanted Capacitance to be mainly about getting to know and connecting to the characters. It isn’t until the end of the novel that the reader really begins to see the true scope of the world. The word ‘capacitance’ means the potential for energy, and the first novel is all about building the spring board that is character development.

Inductance springs the characters off into the world. The second installment was much more about world building. ‘Inductance’ means the flow of energy, and in book 2 the characters are moving out into the world and becoming involved in more action. It was a real struggle for me to make this shift into less character developing and more wold developing. Some of the best world building I did was off the page. Sitting down and taking notes about your world can be a very helpful exercise. Many of these thoughts will never reach the MS page–in fact, many of them shouldn’t–this exercise is more about becoming familiar with your world. That way when you write about it, you have command of your subject. You know things about your world that no one else does. You have secrets, and you’ll keep many of them. The point is to not be didactic in your story. Let the characters make discoveries, let details come out naturally, let nothing be forced.

I am now on the third MS in the series and I am sure that all the questions the more impatient readers had in the first book have still not been answered–maybe they never will be! However, world building remains on my mind as each book goes a little bit deeper into it all. Getting deeper into my world means more serious character development, more new places to be described, more serious themes to face. I’ll leave off on that note as it provides a great segue into what I will be posting about tomorrow. 🙂 Happy Thursday!

Dealing With Dialogue + Chapter 6 Thoughts

Every week when I post a sample chapter I go back and re-read it. Every time I do this, I learn something new about the chapter and think a little deeper about my process as a writer. My initial thoughts from Chapter 6–aside from the impression that I need to go back and weed out some adverbs!–was that the dialogue stuck out to me in this chapter.

Chapter 6 was one of the first chapters that is heavy on the dialogue. We have Runey, Elba, Vance and Mara together for one of the first times and I am just starting to give them their voices. Traditionally, I have always found dialogue a little challenging. If you have even skimmed some of my former blog posts, you will know that I find exposition very compelling, so it is hard for me to break from that and let the characters–literally–speak for themselves. Since I wrote a lot of critical essays in my English literature major in college, I was constantly writing pages of solid prose with no dialogue involved. Thus, dialogue did not come easy to me. I say this in the past tense, because after completing two manuscripts, this is simply not true anymore. While I do love my exposition, my characters’ conversations are easily implemented as well. So this is one area of improvement I have seen in myself as a writer since I composed Chapter 6 of Capacitance.

One other area that I have seen improvement is that my characters’ voices are perhaps a little bit cleaner now. It is a fine balance between giving each character a genuine voice and excluding some of the filler words which are natural in spoken conversation, but can be distracting in a written work. I am talking here about Elba’s “Um”s, Vance’s “Well, you know”s and things like that. We say them all the time in normal conversation, but the characters in a story don’t necessarily need to. As the story goes on, I do clean some of that up. I leave bits like that in if I think it really adds to the voice or the situation, but I think these fillers got a little overboard in Chapter 6.

My biggest insecurity about voice is that I am not going to differentiate it enough between characters and they will all end up sounding the same. It is a huge challenge to attempt to have one’s own voice as a writer and then have to balance the individual voices of all the characters in the novel. I think specifically Elba’s and Vance’s voices are two places I need to watch in Capacitance because I have a sneaking suspicion they may change just a bit as the book goes on, simply because I became more comfortable and in tune with them as characters. However, that’s another round of edits for another day as I am still knee deep in the initial edit of Inductance. With that being said, I am back to editing!

Balancing Act: Writing With Two Main Characters

I always knew Capacitance would center around two main characters–from the very first image of inspiration, I knew that the story would involve a romance, and I also knew that I wanted to explore both aspects of that love story, namely both the male and female perspective. By default, the more characters introduced into a story, the more complex it gets, especially if point of view jumps between more than one main character. I have spoke of J.K. Rowling’s masterful handling of this multi-main character challenge in The Casual Vacancy. My story is not as challenging as that since it only concerns two main characters, however, the balance is important to keep readers invested in each of the characters in their own right. 

While writing Capacitance, I more or less stuck to a basic formula of alternating chapters; I would have a Mara chapter then a Runey chapter. These chapters would compliment each other because they would build on the action, but not rehash it. If the narrator never follwed Runey’s tale, the reader would be confused as to Runey’s motives for pursuing Mara, and the love story would not be as fleshed out. By allowing readers to see both sides of the story, they are given more insight and validation for what is happening between Mara and Runey. 

The male protagonist is something that is not always commonly seen in novels. By and large, the majority of today’s readers are women, thus selling to that market is most profitable in the way of book sale numbers. Even in many of today’s bestsellers, the male co-leads are somewhat shallow; you know they are the love interest, and the female lead is beyond dedicated to them, but the story doesn’t really flesh out their characteristics or qualities which make them so compelling. I wanted to create a complicated male co-lead for this series; one that the readers would come to know as innately as Mara. Thus the chapters from Runey’s world show insight into his emotions and way of thought. Writing from the male point of view is a challenge, but I really enjoyed writing Runey’s segment of the story. He has flaws and he makes big mistakes, but ultimately, he becomes a better man for it. 

While writing, I sometimes found myself enjoying Runey’s segments even more than I enjoyed writing Mara. In Chapter 4 we see the first really emotional, inward action on a character’s part, and that is Runey laying in bed with the realization of his loss of Juleia trickling back to him. I related to this scene so deeply and with Runey himself that at first he seemed to almost be taking over as the main character. However, as the story progresses, as you will hopefully someday see, the two really come to balance out and the storylines become equally as compelling, even though I stress out a lot over one not being as exciting as the other. As is so often the answer, the characters will work and speak for themselves and make the story flow as it should. 

One final thing worth mentioning about maintaining this balancing act between two main characters is the use of third person point of view. Since the reader is not being forced to bounce back between two narrative voices, the book has more flow and continuity. The third person narrator bridges the gap between Mara’s chapters and Runey’s chapters creating a cohesion which guides the readers along in a much less disjointed manner. This also makes things less confusing in segments where the two are physically together when a first person voice narrator could get a little tricky. 

Today may be the day I start the final book of the trilogy, so hopefully I can keep my character balance going strong through the final act! I will be posting more on my current writing progress and the in-between books process tomorrow, so stay tuned! 🙂

Writer’s League of Texas Conference #WLT2015

I just returned from my fabulous weekend in Austin–I seriously could not have had a better experience at this conference! I would definitely recommend this conference to any author because of its professionalism and awesome selection of agents. 🙂

The location for the conference was amazing; Austin is a wonderful city and the conference was held at the downtown Hyatt. This made it easy to sight see during down time as many shops, bars and restaurants were within walking distance. However, there was not much downtime because the weekend was packed full of action for writers at the conference! Friday afternoon kicked off with genre meetings where writers of the same genre got together and had a Q&A session with published genre authors. This was a great way to get acquainted with fellow attendees and hear what they were working on. My favorite part of Friday was the evening cocktail reception–and, no, not just because of the wine! Rather, this informal gathering was set up for conference goers to meet the agents and editors that were present. All the agents and editors that were featured in the program WERE present at this cocktail reception, AND they were willing to talk and be pitched to by writers. After attending the Las Vegas conference, I realize how great and important this was. In Vegas, agents were never present during the informal times; they were either hearing pitches, teaching a session, or even hiding in their rooms. The agents at WLT2015 were always there and willing to listen to writers, even though authors were veritably swarming the poor agents! Thanks to this well facilitated reception, by Friday night I already had an agent request pages of my work.

Saturday, I ran into rather the same problem that I had at the Las Vegas conference–most of the sessions and workshops presented information I already was aware of. Thus, the Saturday sessions were more about listening to variations on a common theme. Most sessions were geared towards the business side, and I (once again) went a little heavy on those, but I think it is important to see agents in action, telling you their opinions. It makes them seem like more of human beings and less of heartless entities of rejection. The best part about Saturday were the pitch sessions. Each conference attendee could have two sessions, so I got the chance to pitch to two agents, both of whom were interested in my project and asked to see pages. The first agent I pitched to  was extremely nice and–although he wasn’t sure if he would be taking on a New Adult project–still wanted me to send him material that he would pass on to someone else in his agency who would lean more towards that. My second pitch was great because the agent took a great deal of effort to give me some very helpful tips for getting my pitch down into one line–she then said when I had that one line, I should send it to her along with pages. I thought that was a great opportunity as it gives me the opportunity to prove to her that I took her advice to heart and worked at it. However, possibly my most valuable agent experience was when I ran into an agent from the agency who requested my full manuscript a few weeks ago. I met this other agent by the elevator and casually mentioned that her boss had requested my full manuscript. She was super nice and said she would give Miriam (agent I’m on submission to) a nudge and tell her she had met me.

The best session of the weekend was on Sunday morning when I went to a first page workshop. I absolutely LOVED the advice that was given during that session. The session leader led us through several very successful first pages and pointed out some key elements of writing a good first page. If you have been reading my blog, you know that the first page/chapter of Capacitance has been a struggle, so this class was great for me and has inspired me to maybe give my first page another try before sending it out to more agents. Add to this the fact that even though most of the agents were trying to get to the airport, but they still stopped by the luncheon for last minute connections, and you have the perfect end to a great weekend.

In conclusion, this conference was great and I did learn a few words of advice that I will pass on to fellow writers who might be considering a conference. First of all (and this is most important), DON’T BE NERVOUS when pitching to agents!! Your words come out stilted, you forget things, and–worst of all–you don’t seem sure about yourself or your story. Agents are, at the end of the day, just people and they are nothing to be scared of. If they like you, they are more willing to like your work, so keep it on even ground when talking to them–trust me, they will appreciate it after a day of endless stammers and groveling from the majority of authors. Second, let the experience give you confidence, but don’t let it go to your head. Chances are at a conference, if you have a manuscript finished, you will get asked for material. Yes, that is thrilling, but it doesn’t mean you’ve “made it.” I made that mistake last conference–everyone asked for pages, so I came home with this enormous boost of confidence. However, from my (albeit limited) experience, if you are taking the effort to be at a conference, agents see you are one step ahead of the query slush pile, and thus, they will put you one step ahead and ask for pages almost by default. No matter what, when an agent asks you for pages, you should feel good, but don’t let it get to your head! Finally, don’t feel obligated to go to all of the sessions–this isn’t high school! If something doesn’t appeal to you, or even if you just need a nap, then by all means go take a break. You won’t burn out that way and you will be fresh and ready to make new connections. Now that you have all this advice, keep the Writer’s League of Texas Agents & Editors Conference in mind for next year! 🙂