Another of my very favorite writers in the world is Charlaine Harris, particularly her Southern Vampire (Sookie Stackhouse) series. What I love most about these books is that no matter how odd the situation or the characters/creatures that the heroine becomes involved with, the story is grounded in the real world. In some urban fantasies, the supernatural aspects make the reader feel that whatever's happening couldn't really be in our world. There's the feeling that "our" world as it is depicted in the novel is not as we have always percieved it. In the Sookie books, the reader has the sense that events and beings in the story could very well be part of the reality we know.
My Daylight's End books feature unusual beings and occurances and I feel I accomplish what Charlaine Harris does with her Southern Vampire Novels. I am pleased about that because that is exactly how I want the books and stories to be. However, I did not manage that through writerly skill; more because of lack of it. I'm just not adept enough to create a world significantly different from the reality I know.
My other series, Trust In Darkness, needs to convey more of a feeling that the world of the characters both is and is not exactly as they have always seen it. That may prove harder to do, but so far I think I'm succeeding.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Thursday, October 6, 2011
Tuesday, October 4, 2011
What We Can Learn From Our Idols (part 2)
Another of my favorite authors who has a gift I would like to learn is Jim Butcher. I am a huge fan of his Dresden Files books.
All novelists have heard that to keep a plot moving you have to give your protagonist a problem to solve and then keep adding more trouble and more and more obstacles to overcome. Butcher is a master at this.
In almost every book he gives his hero, Harry Dresden, a difficult problem then a complication that makes it impossible to solve. THEN he adds two more issues that create a situation where if Dresden fixes one thing, something terrible happens, but if he prevents that from happening, another catastrophe will occur.
The real magic is that somehow Butcher keeps all these plotlines going full speed and at the end resolves all issues. That doesn't mean everything works out perfectly - often people die, the hero fails in some way, bad stuff happens - but all aspects of the story are wrapped up in a way that is satisfying to the reader.
I have discovered that I am not (yet) capable of writing more than one main storyline and a couple of subplots without making a huge mess of a manuscript. But thanks to Jim Butcher, I know it can be done and I like to think I will get there someday.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
All novelists have heard that to keep a plot moving you have to give your protagonist a problem to solve and then keep adding more trouble and more and more obstacles to overcome. Butcher is a master at this.
In almost every book he gives his hero, Harry Dresden, a difficult problem then a complication that makes it impossible to solve. THEN he adds two more issues that create a situation where if Dresden fixes one thing, something terrible happens, but if he prevents that from happening, another catastrophe will occur.
The real magic is that somehow Butcher keeps all these plotlines going full speed and at the end resolves all issues. That doesn't mean everything works out perfectly - often people die, the hero fails in some way, bad stuff happens - but all aspects of the story are wrapped up in a way that is satisfying to the reader.
I have discovered that I am not (yet) capable of writing more than one main storyline and a couple of subplots without making a huge mess of a manuscript. But thanks to Jim Butcher, I know it can be done and I like to think I will get there someday.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Thursday, September 29, 2011
What We Can Learn From Our Idols
My writers group, Living Writers' Collective, has been celebrating our 5th year by having members contribute their Top Five on various topics which are then published on the group's website. Recently the category centered on who our top five favorite writers were and what we learned from them. For me it's a case of 'what do I wish I could learn from them'. Back in July I blogged about some of my favorite authors and I wanted to mention what they do well that I wish I could.
Dick Francis. IMO best mystery/thriller writer ever. According to his biography, he never edited or rewrote anything; he just made sure before wrote the words that the words he was putting down were precisely the way he wanted them. Hard to believe - I have never heard another writer make that claim. In fact, most say exactly the opposite. That's not what I wish I could learn to do, although it would be cool.
DF's plots are great, but what I love most are his characters. Within the first few pages I fall in love with nearly all his protagonists. Most of his books are written in the first person and you find out a great deal about them very quickly, all through their thoughts and actions.
The main characters don't describe themselves. They don't say, "I refuse to let people bully others", "I'm kind and generous", or "I'm insecure, but always try my best". Other characters don't describe the protagonist: "He believes in hard work and honesty"; "He has no tolerance for liars and cheats". Yet the reader knows these things clearly very early in the narrative.
I read and re-read Francis' books to try to learn how he does it. I've not yet been able to pinpoint it. I have not been able to emulate it. In fact, I'm not good enough to even come close. But I keep trying. And because of Dick Francis, I know it can be done and what to aim for.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Dick Francis. IMO best mystery/thriller writer ever. According to his biography, he never edited or rewrote anything; he just made sure before wrote the words that the words he was putting down were precisely the way he wanted them. Hard to believe - I have never heard another writer make that claim. In fact, most say exactly the opposite. That's not what I wish I could learn to do, although it would be cool.
DF's plots are great, but what I love most are his characters. Within the first few pages I fall in love with nearly all his protagonists. Most of his books are written in the first person and you find out a great deal about them very quickly, all through their thoughts and actions.
The main characters don't describe themselves. They don't say, "I refuse to let people bully others", "I'm kind and generous", or "I'm insecure, but always try my best". Other characters don't describe the protagonist: "He believes in hard work and honesty"; "He has no tolerance for liars and cheats". Yet the reader knows these things clearly very early in the narrative.
I read and re-read Francis' books to try to learn how he does it. I've not yet been able to pinpoint it. I have not been able to emulate it. In fact, I'm not good enough to even come close. But I keep trying. And because of Dick Francis, I know it can be done and what to aim for.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Tuesday, September 27, 2011
About That Muse...
A writer friend of mine recently joined the Writers' Loft program at MTSU and one of their first excercises was to visualize their muse. She was delighted to learn that hers took the form of a beautiful, strong chestnut horse. When I commented that a horse would be very suitable muse for me, she asked what mine looked like.
I responded that mine was apparently a shapeshifter and possibly schizophrenic. (Wanna know how to really piss of your muse...?) Mostly I envision my muse as an angel or a fairy, but sometimes a winged unicorn/pegasus or a dragon. (Interesting that the forms are always winged.)What my muse is consistent about is being female. That explains the moody, unpredicatable, unreasonable reputation all muses have, but it could also be attributed to 'artistic temperment'.
I am lucky that mine is mostly good-natured, if frequently MIA. I have one writer friend whose muse is so mean, she has a video of it appearing in its corporeal form and pooping on her WIP. My muse is never critical or discouraging, for which I am grateful. If she's not always around when I need her...well, if we didn't ever struggle, we wouldn't appreciate the times when writing is easy.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
I responded that mine was apparently a shapeshifter and possibly schizophrenic. (Wanna know how to really piss of your muse...?) Mostly I envision my muse as an angel or a fairy, but sometimes a winged unicorn/pegasus or a dragon. (Interesting that the forms are always winged.)What my muse is consistent about is being female. That explains the moody, unpredicatable, unreasonable reputation all muses have, but it could also be attributed to 'artistic temperment'.
I am lucky that mine is mostly good-natured, if frequently MIA. I have one writer friend whose muse is so mean, she has a video of it appearing in its corporeal form and pooping on her WIP. My muse is never critical or discouraging, for which I am grateful. If she's not always around when I need her...well, if we didn't ever struggle, we wouldn't appreciate the times when writing is easy.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Thursday, September 15, 2011
Pets As Characters
I had to put my dog to sleep this week. I've had to do this with many pets over the years and it never gets easier. I've had lots of dogs and most of them live (and remain in great health) until they are very old. Then their bodies give out and I have to do what I can to keep them from suffering.
Tapestry, affectionately know as Pest, was a 10-year-old Irish Wolfhound. He was a rescue dog I adopted from the Irish Wolfhound Association of the Great Smoky Mountains when he was three.
I have other dogs, dogs I've had longer, ones I have raised since they were puppies, and I love them dearly. But they are not Pest. All of my dogs, horses and cats are individuals, each with a very distinct personality - and lots of it.
I cannot imagine a life without animals and pets, and I have difficulty imagining a fictional world without them. In my books and stories animals are minor, but important, characters. Even human characters who are not animal-lovers generally live in a world full of pets and pet owners. They have to deal with things like an annoying stray cat, crazy neighbors with weird pets, a dog that runs loose and causes havoc in the community. Fictional pets and animals don't have to be outrageous or even unusual, but I feel they do have to be more than a prop or a part of the setting.
A book without animals in it feels as wrong to me as my house or barn without a dog or cat underfoot (or in the bathtub, on the couch or on my keyboard). When you think about it, animals can add aspects (and dialogue) to a plot that you can't get with other characters, such as: "If you lie on the stairs, we will both get hurt." "Didn't I just feed you twelve hours ago?" or "You don't need a waterbowl; this house has three toilets."
Pets and animals in fiction can be sidekicks, companions, partners, caretakers, or troublemakers. They can help save the day or add complications or create choas. What they can't be is missing altogether.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Tapestry, affectionately know as Pest, was a 10-year-old Irish Wolfhound. He was a rescue dog I adopted from the Irish Wolfhound Association of the Great Smoky Mountains when he was three.
I have other dogs, dogs I've had longer, ones I have raised since they were puppies, and I love them dearly. But they are not Pest. All of my dogs, horses and cats are individuals, each with a very distinct personality - and lots of it.
I cannot imagine a life without animals and pets, and I have difficulty imagining a fictional world without them. In my books and stories animals are minor, but important, characters. Even human characters who are not animal-lovers generally live in a world full of pets and pet owners. They have to deal with things like an annoying stray cat, crazy neighbors with weird pets, a dog that runs loose and causes havoc in the community. Fictional pets and animals don't have to be outrageous or even unusual, but I feel they do have to be more than a prop or a part of the setting.
A book without animals in it feels as wrong to me as my house or barn without a dog or cat underfoot (or in the bathtub, on the couch or on my keyboard). When you think about it, animals can add aspects (and dialogue) to a plot that you can't get with other characters, such as: "If you lie on the stairs, we will both get hurt." "Didn't I just feed you twelve hours ago?" or "You don't need a waterbowl; this house has three toilets."
Pets and animals in fiction can be sidekicks, companions, partners, caretakers, or troublemakers. They can help save the day or add complications or create choas. What they can't be is missing altogether.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Thursday, September 8, 2011
What My Animals Have Taught Me About Writing
My horses don't write, nor do they read. They do often get to listen to me plotting, questioning, and revising out loud while riding, grooming or doing barn chores. They don't comment on any of that either.
One way I support my horses is by teaching riding lessons. Like any sport or activity, participants improve by having a teacher, mentor, coach, trainer or fellow athlete critique their performance.
Among writers, the word 'critique', even to those of us that know better, evokes the image of being told what is wrong and what needs improvement. I know from taking riding lessons that I progress better with encouragement than criticism. Therefore, that is how I teach my students - and my horses.
Of course, no one can improve in what they do with only encouragement. Problems need to be addressed and corrected, new practices and methods have to have to be tried, what isn't right needs to be changed.
But if a rider's leg position is great and someone only tells them that their upper body is out of balance, concentrating only on keeping their back straight might make the rider not keep their heels down as well, or forget to keep their hands even, etc. When giving lessons, I always remind and encourage students about what they are doing right before mentioning what needs improvement. "Your hands are exactly where they need to be. You need to stretch up taller in the saddle, but keep your hands where you have them because they are just right", sounds better to me than, "You're not looking up and your lower leg is loose and you need to hold your fingers tighter on the reins! Will you ever learn to sit back properly...?"
Consider how we teach animals. Horses and dogs in training would get sour very quickly if they were only corrected for mistakes and never praised for acomplishments. Most animals will do as much or more to earn praise than to avoid punishment.
Something my two critique buddies do very well - that I am SO grateful for - is to always comment on things they love about my work. They will point out where and how characterization needs improvement, but praise how good the dialogue is. This encourages me to fix the issue with my characters AND encourages me to keep writing effective dialogue.
We need to always keep this in mind when critiquing others work. Hearing nothing but criticism, however neccessary or gently delivered, is disheartening to anyone. Make sure others know where their strengths are so they keep them strong.
Writers need this. We are very anxious about having our work shared with others only to have the flaws made clear to us. Knowing we can expect praise as well lessens the sting.
In most things, letting people (and animals) know what they are doing right is as important as telling them what needs to be done better.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
One way I support my horses is by teaching riding lessons. Like any sport or activity, participants improve by having a teacher, mentor, coach, trainer or fellow athlete critique their performance.
Among writers, the word 'critique', even to those of us that know better, evokes the image of being told what is wrong and what needs improvement. I know from taking riding lessons that I progress better with encouragement than criticism. Therefore, that is how I teach my students - and my horses.
Of course, no one can improve in what they do with only encouragement. Problems need to be addressed and corrected, new practices and methods have to have to be tried, what isn't right needs to be changed.
But if a rider's leg position is great and someone only tells them that their upper body is out of balance, concentrating only on keeping their back straight might make the rider not keep their heels down as well, or forget to keep their hands even, etc. When giving lessons, I always remind and encourage students about what they are doing right before mentioning what needs improvement. "Your hands are exactly where they need to be. You need to stretch up taller in the saddle, but keep your hands where you have them because they are just right", sounds better to me than, "You're not looking up and your lower leg is loose and you need to hold your fingers tighter on the reins! Will you ever learn to sit back properly...?"
Consider how we teach animals. Horses and dogs in training would get sour very quickly if they were only corrected for mistakes and never praised for acomplishments. Most animals will do as much or more to earn praise than to avoid punishment.
Something my two critique buddies do very well - that I am SO grateful for - is to always comment on things they love about my work. They will point out where and how characterization needs improvement, but praise how good the dialogue is. This encourages me to fix the issue with my characters AND encourages me to keep writing effective dialogue.
We need to always keep this in mind when critiquing others work. Hearing nothing but criticism, however neccessary or gently delivered, is disheartening to anyone. Make sure others know where their strengths are so they keep them strong.
Writers need this. We are very anxious about having our work shared with others only to have the flaws made clear to us. Knowing we can expect praise as well lessens the sting.
In most things, letting people (and animals) know what they are doing right is as important as telling them what needs to be done better.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
Tuesday, August 30, 2011
To Write or Not....
It is said that to be successful in writing you have to write. A certain amount of time or pages or just anything - if not every day, then regularly - no matter what.
I recently came across a fellow writer who said we shouldn't waste our time writing if we're uninspired (or tired or frustrated), because whatever we create will just need to be thrown away or re-written the next writing session. Which is a valid argument, but for some it may be better to have something, however bad, to work with the next session than the same blank page you left the day before.
I recently spoke to another writer who also thought working on a WIP when you can't focus is a waste of time and energy, but she still advocated writing something everyday. If you can't work productively on your current project, then blog, write a journal entry or a letter to Aunt Jane. This also makes sense.
The truth is, you have to make time to write and you have to use your writing time wisely. There is so much more to the writing life than just creating. Blogs and websites have to be kept updated, markets have to be researched, submissions sent out, outlines written, revisions made.
Because I have a full-0time job and other commitments, I try to prioritize my work, with the most important work in progress being at the top of the list. If I can't make any progress on that, I go to something else. I have to be at my most alert to work on revisions, even more so than on a first or second draft. Marketing and submissions I can do when I have no creative spark at all.
One trick I use to see where I'm at mentally is games and puzzles. (See "Solitaire As A Writing Tool"). A quick game of Spider Solitaire will let me know how well my brain cells are functioning at any particular time of day. Even better are Sudoku puzzles. If I struggle through an easy or medium level one, it's probably not a good time to tackle a difficult writing issue. If I zip through a challenging or difficult game or puzzle, I know I'm at the top of my game and need to take advantage of that.
We each have to do what works best for us, but trying new things can help us find what it is that does work.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
I recently came across a fellow writer who said we shouldn't waste our time writing if we're uninspired (or tired or frustrated), because whatever we create will just need to be thrown away or re-written the next writing session. Which is a valid argument, but for some it may be better to have something, however bad, to work with the next session than the same blank page you left the day before.
I recently spoke to another writer who also thought working on a WIP when you can't focus is a waste of time and energy, but she still advocated writing something everyday. If you can't work productively on your current project, then blog, write a journal entry or a letter to Aunt Jane. This also makes sense.
The truth is, you have to make time to write and you have to use your writing time wisely. There is so much more to the writing life than just creating. Blogs and websites have to be kept updated, markets have to be researched, submissions sent out, outlines written, revisions made.
Because I have a full-0time job and other commitments, I try to prioritize my work, with the most important work in progress being at the top of the list. If I can't make any progress on that, I go to something else. I have to be at my most alert to work on revisions, even more so than on a first or second draft. Marketing and submissions I can do when I have no creative spark at all.
One trick I use to see where I'm at mentally is games and puzzles. (See "Solitaire As A Writing Tool"). A quick game of Spider Solitaire will let me know how well my brain cells are functioning at any particular time of day. Even better are Sudoku puzzles. If I struggle through an easy or medium level one, it's probably not a good time to tackle a difficult writing issue. If I zip through a challenging or difficult game or puzzle, I know I'm at the top of my game and need to take advantage of that.
We each have to do what works best for us, but trying new things can help us find what it is that does work.
www.jennifermballard.com
www.daylightsend.weebly.com
www.trustindarkness.weebly.com
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