More and more people are self publishing these days, and the book printing available to them is so nice that most folks can’t tell a traditionally published book from a self-published one. Recently, a traditionally published author friend was telling me that she can’t wait for one of her titles to go out of print so she can turn around and self publish it. Much of the stigma of what was once known as the “vanity press” has vanished in this century. Because of this, some argue that today’s writer has no need of a literary agent because all they do is sell your book to a traditional publishing house; therefore, the literary agent is a dinosaur in this new day and age. Allow me to disagree. Agents do much more than sell books–they’re pretty much the publishing industry equivalent of WD-40. Continue reading ‘Agents: The WD-40 of Publishing’
What do all those wonderful comedies of Shakespeare have in common with late 70s/early 80s TV sitcom Three’s Company? I mean, besides the fact that they’re both awesome? (Don’t get me started on what a comedy genius John Ritter was.)
Both thrived on confusion.
And I make this point because for writers in this present age, it’s almost impossible to build a story around confusion. At least, that’s been my experience.
Confusion can make for great fun. Like when you don’t know that the dude you just met in the woods is actually your girlfriend in disguise. Or when you overhear Chrissy and Jack in the kitchen and assume that Chrissy is talking to Jack when she says, “I want to kiss every inch of you,” only to burst in and find that she’s cooing these words to a little puppy.
It used to be that writers could rely on a character’s being in the dark about something in order to move the plot forward. Nowadays, not so much. Where is So-n-So? Why didn’t he show up? Let’s text him and find out. Who is this stranger I met at the cafe? IDK; let’s do a Google search or stalk him on Facebook until we know everything about him. My mom is going to kill me for blowing curfew, but I can’t get to a phone to tell her the car broke down. Oh, wait, we all have cells in our pockets. (Thank goodness there are dead zones when a writer needs them.)
It’s hard to convince readers that characters in this present age don’t immediately know everything because we have the means to immediately know almost everything. We have zero patience for not knowing every bit of minutiae the second we want to know it. Find yourself having a sudden flashback to a 1970s Saturday morning PSA cautioning children about the excessive use of condiments? No worries…you can locate it on YouTube in a matter of seconds.
In a sense, this is the age of omniscience. We know everything. Most of it isn’t worth knowing, but we can still know it in an instant. Certainly this doesn’t make us wise (Whew! We can still fall back on our characters making bad decisions!), but it makes us know-it-alls. And so it can be challenging as a writer to get your characters into interesting predicaments.
We have to search for new ways to create dramatic situations in spite of this. It requires some ingenuity. Case in point, Lindsey Leavitt‘s Going Vintage, in which she uses modern technology to create the story problem and then removes it from the equation to see what happens. What a fun premise! Shakespeare and John Ritter would both, I’m sure, approve.
Last week, I was invited to speak to Dr. Beenken’s creative writing class at Mountain Brook Junior High. As with most school visits, it was fun and the time went by quickly. So quickly, in fact, that when I left, I thought, “Oh, I forgot to take any pictures!”
I do that a lot. And I think it’s because, deep down, I sort of hate taking pictures or videos. Maybe it’s because I don’t like photographs of myself. Whenever I get one of those “So-n-So tagged you in a photo” messages from Facebook, I feel a little sick inside. Whenever anyone pulls out a camera, I instantly feel awkward and uncomfortable, and it shows in the picture. (People make fun of models sometimes, but I’m telling you, these people have a real skill–I’ve seen them in photo shoots and it’s amazing how they can strike tremendously awkward poses without feeling the least bit self-conscious.) And it’s not just pictures: you should hear how ridiculous I sound whenever I have to leave a voicemail message; I pretty much ramble on until the beep and then groan, wondering what drivel just came out of my mouth.
I don’t know. I guess something about preserving moments through technology just inevitably alters those moments. Continue reading ‘And Absolutely No Pictures Were Taken’
Recently, I blogged about the importance of telling the truth in fiction. But what about nonfiction? If you’re telling a true story–unless you’re purposely fabricating something or trying to distort the facts–the truth takes care of itself, right?
Not necessarily. Continue reading ‘To Tell the Truth, Part Two’
In college, I minored in creative writing.
Most of the people in my poetry writing courses loved words and wanted to learn a few things about poetry, even if they didn’t aspire to be poets.
Inevitably, though, there was always at least one of those “the cat sat on the mat” guys–people who thought a class on poetry writing was a big joke and an easy A. Continue reading ‘Those Easy Creative Writing Courses’
Lying: It’s a great way to ruin your life. It’s also a pretty good way to ruin your writing.
Sounds a bit hypocritical for a fiction writer to caution against lying, doesn’t it? After all, we make things up for a living. We create people in our heads, name them, imagine what they look like and what they eat for breakfast, what their worst fears and deepest desires are, and then we try to convince readers that they’re real. And yet, in the midst of all this make believe, our job is to get at the truth. Continue reading ‘To Tell The Truth’
Writers are interesting human beings. Most of them are creative, and some of them can tell hilarious stories at parties. Many have an innate understanding of what makes people tick. And if you want someone to deconstruct every minute detail of what your crush’s text really means, we’re usually SO up for that. Overanalyzing language and reading between the lines? Yes, please!
On the other hand, being friends with a writer has its downsides. Continue reading ‘Should You Be Friends with a Writer?’
When I was a teacher, it was difficult to get students to understand the difference between tone and mood. It’s understandable: tone and diction are what create mood, so without tone, mood doesn’t even exist. Diction, of course, is the writer’s word choice, while tone is defined by most dictionaries as “the manner in which a writer approaches the subject at hand.” Mood, then, is the feeling evoked in the reader based on the author’s choice of words and his/her tone. It’s a cause and effect relationship. Still, though, these definitions in and of themselves fall short of having any real meaning to students, which is why, when a splendid example of tone and mood comes along, it’s a great opportunity to show instead of tell.
The other day, syndicated columnist Jae-Ha Kim produced a most instructive piece of writing for illuminating tone and mood. If you want a wonderful lesson for your writing class, have them read Jae’s blog post called, “JiSun: Do You Remember My Sister?” While most textbook examples of tone are merely “sad” or “happy,” Jae’s tone here could best be defined as confrontational or angry–probably a lot more interesting to study. Ask your students how she accomplishes that tone. Have them notice how beginning the piece with a direct address immediately points a finger in the offender’s face. Ask them how that beginning serves the piece differently than if she’d begun, “Once there was a girl who was mean to my sister.” Have them notice the series of one-sentence paragraphs with parallel construction, each beginning with the same word, “maybe.” Ask them to sum up the message to JiSun in one or two sentences. (My take? “My sister’s over it, but my mom and I aren’t. Watch your back.”) What you’re teaching them, then, isn’t just a fuzzy definition of tone, but rather how tone is constructed by the choices the writer makes.
Ask them how they feel after reading the piece. My guess is that they will feel unsettled. And why? Because the writer’s control of tone CAUSED that reaction. Tone CAUSES mood.
Finally, for a fun and educational writing exercise, ask students to write a reply from JiSun’s point of view. After all these years, is she defiant or remorseful? Their use of tone will make it clear who JiSun grew up to be.
Just got an email yesterday that the movie Moms’ Night Out is releasing on DVD. Such a fun movie! I had the opportunity to meet the cast and interview the lovely Sarah Drew during filming…you can read her inspiring story here. At the time, I wasn’t a completely sucked-in uber-fan of The Middle, which is probably good because if I had been, I might have screamed, “I love you, Frankie Heck!” and tried to hug Patricia Heaton. Probably not the most professional of moves, right? (But how could you not love Patricia Heaton? She’s HI-larious!…Now, lower your head and whisper “HI-larious,” Brick-style.) Here are a few pics from the MNO set. If you’re a mom, I urge you to gather some of your other mom friends and have a Moms’ Night Out movie night. You’ll love it. It will make you laugh, cry, and feel really, really good about the AMAZING job you are doing!
Marissa Meyer, author of Cinder and Scarlet, tells us how she came up with the original and extremely popular Lunar Chronicles. Enjoy!
How did you get the idea for Cinder?
MM: I entered a writing contest a few years ago in which the host had listed about ten random prompts and writers had to choose two of them to include in their stories. My two prompts: set it in the future and include a fairy-tale character. My contest entry was a sci-fi version of “Puss in Boots” and I had so much fun writing it that I thought I would try to do an entire series of sci-fi fairy tales! (The ironic part of that story is that only two stories were submitted for the contest—and mine came in second. Ha!)
A couple months after that I was drifting off to sleep when the lightning bolt struck: Cinderella… as a cyborg! I crawled out of bed and spent about an hour brainstorming and jotting notes. That initial flood of inspiration eventually turned into Cinder and The Lunar Chronicles.
Even though your novel is based on the story of Cinderella, you did a lot of twists that were different from the original story–for example, Cinder having to use an old cyborg foot to go to the ball and losing it instead of leaving her shoe behind. How did you decide when to deviate from the original fairy tale and when to stick closer to it?
MM: It was a lot of fun for me trying to figure out how close I wanted to stick to the story, versus how much of my own spin to give it. I started by making a very skeletal outline of what, to me, are the most iconic moments and elements of the Cinderella storyline – the girl treated like a servant, the pumpkin carriage, the ball, the slipper – and then brainstormed ways to futurize them. I also knew early on that this would be a multi-book series that would tell other fairy tales along the way, so I tried to weave in elements of many of them as early on as possible. For example, in Cinder we’re introduced to a new breed of wolf-like soldier that the evil queen is developing. It’s only hinted at in the first book, but those wolves become very important in Scarlet, Book 2, which is based on Little Red Riding Hood.
Prince Kai and Cinder are already falling for each other well before the ball. Their relationship is more complex than the fairy tale’s “love at first sight” at the ball. What made you decide to develop the relationship the way you did? (Or why did you think it was important to do it the way you did?)
MM: As much as I love fairy tales, I’ve always had a problem with the love-at-first-sight trope that’s so frequently used in them. I just don’t think it’s realistic to meet a guy at a ball, or be awoken from a curse, or whatever it is, and instantly fall in love and go live happily ever after. Relationships take time to build and strengthen, and I wanted the romances in these books to have strong foundations – and also to have to go through plenty of trials and tribulations along the way. I think it makes for a much more interesting story, and hopefully a much bigger pay-off in the end.
You made one of the stepsisters likeable and Cinder’s friend. Why did you decide to do that instead of having the usual “two wicked stepsisters”? How do you think that helped your story?
MM: In the first few drafts of Cinder, both stepsisters were “wicked” and didn’t get along with Cinder. However, there’s a scene in the book in which something pretty awful happens to one of the stepsisters (I say, trying not to give any spoilers!). After reading it, one of my early readers told me that she wasn’t at all upset by this scene that was supposed to carry a big emotional impact. She didn’t like the stepsister so why should she care if something bad happened to her? So I decided to go back and change it so that the stepsister was bubbly and vivacious and one of the few people who cared about Cinder – I want readers to feel as if she’s their younger sister, too.
Did you write the whole novel before you sold it to a publisher? And if so, how did you know you could end it with a cliffhanger? How did you know you’d be able to have a sequel to finish Cinder’s story?
MM: Yes, the novel was completed upon selling it to my publisher, and by that point I also had early drafts written of Books 2 and 3 and an outline of Book 4, so that when we were showing it to publishers I could give them a good idea of where the story was heading and why I’d chosen to end it on a cliffhanger. My idea for this series was always much bigger than could fit into a single novel and it was important to me that my publisher understood where I was taking it and supported my plans for the series. Luckily, Macmillan loved the concept and didn’t give me much trouble about the cliffhanger! I know it was the right decision for the story.