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Entries in writing (49)

Monday
Jun102013

time, writing, and social media

A lot of you have been asking me when my next novel is coming out, and I am so grateful to all of you for your interest! You just blow me away, you really do. Unfortunately, I don't have much to report right now. Garden in Umber is still on submission, and I will let you know if it sells to a publisher the very minute that I am able.

I also want you to know that my online presence might be somewhat diminished for the next couple of months. Without disappearing entirely, I am going to be taking a less active role in social media. It's not that I don't love interacting with everyone, but working on three short stories and my novel really made me realize how much I'd missed writing during the months of March and April.

The year 2013 started out with sickness and upheaval in all aspects of my life: the day job and my writing were going through transformations, and my home life was disrupted by my own illnesses. It hasn't been a good year thus far.

The day job still hasn't stabilized; however, my own equilibrium has begun to return. That doesn't mean I am filled with peace and serenity while being tossed by the seas, but it does mean that I am no longer giving other people control of my free time. I want to spend that time reading and writing.

I'm really excited about being a part of two lovely anthologies: Manifesto: UF and The Neverland Library's Fantasy Anthology. Working with the editors and writing stories to specific guidelines has given me the opportunity to flex my writing skills in ways that I hadn't imagined that I could. I am indebted to both Tim Marquitz and to Roger Bellini for inviting me to participate in their respective adventures. I'll be around to promote both of these anthologies when they are available.

I want to tell you about my friend Helen Lowe's novel Heir of Night. I have a partial review written and would like to finish it soon. My friend Alex Bledsoe's newest novel Wisp of a Thing is pre-ordered on my Nook, and I intend to give you a review of that too. I also have an idea for southern gothic short story that I've started to kick around, in addition to working on my novel Cygnet Moon.

I'd like to get all of these projects rolling and finished by the end of the year, and in order to do that, I'm going to have to spend less time on social media and more time doing that writing-thing that I love. I will be popping in on the old blog with my updates, but if you don't see me on Twitter and Facebook as much, it's because I'm writing.

Ya'll carry on ...

Monday
Mar252013

horror, syncretism, and writing about other cultures

I've spent the last two weeks talking about world-building in fantasy, and while I may seem to wander off-topic here, bear with me. This post is about some things that I learned when writing a short-story and confirmed my own realization that there is much, much more to writing about different cultures than just giving a character brown skin.

This is kind of long, but stick with me, if you will.

Horror, back in the day--I'm almost 49, so pardon me while I wax philosophical for a moment here--horror used to be about mood, desire, and atmosphere, not the amount of blood that can be spilled in across the pages. The object was to build suspense through the interplay of shadow and light and frighten the reader more with their own thoughts than with random patterns of blood spatters. Think Sarah Waters, who is the master of building suspense as she insidiously creeps inside your head to stimulate your worst fears. Likewise, Stephen King guides you through the moments of horror, not with flayed bodies but with the pacing and the rhythm within each scene.

I'm not that good, by the way. I'm just using Waters and King as examples and like them, I'd rather use words than gore to frighten my readers. I can easily write a scene that grosses you out--it's much more difficult to write a story that draws you in then releases you to your own fears.

Several months ago, I decided that I wanted to exercise my writing skills on a horror short-story. I thought about telling the story of an addict who becomes haunted through cocaine tainted by innocent souls murdered in the drug wars. Okay, my brain is weird and medication does not help--get used to it. Anyway, I emailed Sabrina Vourvoulias and brainstormed my ideas with her. She gave me some great information. She mentioned La Santa Muerte, and I talked a little about that exchange here.

La Santa Muerte fascinates me because this is syncretism in action. Rather than an abstract thesis, I have the opportunity to watch an ancient goddess assimilated into a more modern religion. This excites me the way Higgs boson excites scientists--I just find people infinitely more fascinating than particles.

Which brings me to the most crucial part of this little post. In order to understand why La Santa Muerte is so meaningful to some portions of Latino culture, I had to make an attempt to understand the economic and social development of a group of people that I thought I knew something about. It turned out that I was really much more ignorant than I ever dreamed.

When writing about other cultures, it's easy to slip into the default mode of "because it is true where I live, it is true everywhere," but that is lazy writing. In order to avoid that mentality, I watched documentaries about immigrants who cross the border and why they risk their lives to come to the United States. I didn't need to watch documentaries about extreme poverty--I'd experienced that in my own life. I also know that without an education, or some kind of external help, poverty is impossible to escape.

I know that I was willing to do anything to change my circumstances, and I took the necessary steps to move forward, but I am lucky. I live in the United States where I was able to acquire the help to change my life. Not everyone is so fortunate.

I compared my own experiences with those of the immigrants. I also watched a lot of Latin American movies and deliberately avoided Hollywood representations of either immigration or La Santa Muerte. I wanted to experience someone else's culture through their eyes, not through mine.

As I watched these movies and documentaries, my attitudes changed and so did my story.

Stories are lies designed to show us a truth. In order to tell a convincing lie, I must first understand the truth. I am extremely fortunate when these facts lead me to re-examine myself.

Once I completed my short-story, I emailed Sabrina, who so graciously offered to read it for me. She picked up on several things, such as names that carried different connotations to Latinos than they carried to me. She helped me pick a city that would accurately reflect the family I chose to portray. Without her help, my story wouldn't have been bad, but it wouldn't have been accurate.

I didn't have the full truth, you see, so my lie rang false.

Here are a few tricks that I used:

  • Watch films and documentaries about the culture and avoid Hollywood misrepresentations (for my project, I only watched films by Latino directors)
  • Read everything you can about the particular culture you want to represent
  • Contact someone from that culture who is willing to read your story and be honest with you about any cultural errors you might make

It was a lot of work for a short-story, but at the same time, I had the chance to educate myself. What I learned changed my attitudes and gave me an opportunity to grow as person. I put myself in someone else's skin for a little while, and that changed me.

In this story, there is horror, syncretism, and another culture. I've told you a lie that is designed to show you a truth, because that is what stories are. I'm going to submit this one for publication. If it doesn't sell, I'll rethink my options, but regardless of what happens with the story, I've learned quite a bit about myself and the takeway from that is invaluable.

Monday
Mar182013

We are here ... we are the BookSworn ... come and play

A new author collective is born today!

We are the BookSworn and we are hosting a Masked Ball with a Grand Giveaway in celebration of our first week of blogging!

Head over and see how to win, then come back every week for posts about writing, genre fiction, and sometimes we'll even tell you what we really think.

Follow us on Twitter at BookSworn so you don't miss a thing.

Help me spread the word ... BookSworn has arrived ...

Sunday
Dec022012

I write like ...

... me.

And you should write like you.

Each of us brings a unique perspective to our stories or blogs. We shouldn't be pressured by other bloggers or other authors to write what people THINK we should write. It's important to present diverse viewpoints, otherwise we become this homogeneous non-people with our thoughts dressed in gray.

Write the stories you want to read. Write them with your unique voice.

Write on ...

Tuesday
Nov272012

The Next Big Thing ... Garden in Umber

I was originally asked to participate in this meme by the talented E. J. Swift, and while I rarely say no to these kinds of things, E. J.'s request came at a rather bad time, so I was forced to decline. Life settled down as it often does, and over the weekend, I got a second request to participate in The Next Big Thing, this time from Alex Bledsoe.

Since I was asked not once, but twice, I'm including a link to E. J. Swift's Next Big Thing and one to Alex Bledsoe's Next Big Thing, so you can see what both of them are up to.

And here is what you can expect from me next:

What is the working title of your book? The working title was The Garden, but I have since changed that to Garden in Umber. It is also the title to a poem, which bears no relation to the novel other than it has the word "garden" in the title, but the imagery of a garden dressed in shades of umber fit very nicely, so there. We'll see if I get to keep it.

Where did you get the idea for the book? I built the story around a character I imagined. His name was Guillermo and he was a werewolf. That was all I knew when I started. I've always loved Beauty and the Beast and wanted to do a story where the "beauty" was the man and the "beast" was the woman. As the story progressed, I found it was less about my beauty and beast and more about the relationship between three men.

As I researched sexuality in the Middle Ages and the attitudes toward gay men, I realized that this story was about how one man allowed societal mores to destroy his relationship with a close friend.

What genre does your book fall under? Fantasy.

Which actors would you choose to play your characters in a movie rendition? This question usually stumps me, but for Garden, I actually had some inspiration:

Javier Bardem as Guillermo--not because of his looks, but he has the personality that I always associated with Guillermo;

Gael Garcia Bernal as Diago--from his eyes down to his mannerisms, he is just perfect; and

I don't really have an actor picked out for Miquel, but Brazilian model Carlos Freire when he was 18 is right in line with my mental image for Miquel. I don't know if he can act or not. But he sure is pretty.

What is the one-sentence synopsis of your book? It's complicated and really awesome.

No?

Okay, for real:

Guillermo, Diago, and Miquel struggle to remember their first-born lives and the secret of a song that will send the Daimon Ashmedai to the final death and free them from the mad angel Belita's ruined garden.

I hate those one-sentence synopses like the plague. Just saying ...

Will your book be self-published or represented by an agency? Garden in Umber will be placed on submission in 2013. I'm represented by Marlene Stringer of The Stringer Literary Agency.

How long did it take you to write the first draft of your manuscript? Once I got the story on track, it took me a little over a year to produce a rough first draft. This one felt longer, because I had a lot of research on the front end of the novel and also had to split my time between Garden and promoting Miserere.

I also tried to produce a polished first draft and wasted a lot of time trying to fit the story into my idea of what the story should be, rather than letting the themes emerge. I hope not to make that mistake a second time.

I've found for me, it's great to start with a firm synopsis, then write the first draft from beginning to end. Once written, it's easy to polish, edit, add, bend, fold, staple, and mutilate ...

What other books would you compare this story to within your genre? None. I set trends, I don't follow them.

Who or what inspired you to write this book? I think one thing that inspired this tale to take shape the way it did was my research. I read about men who were accused of homosexuality and how they were burned at the stake along with their papers and personal effects. I read another case about two young men who went to the stake together and professed their love for one another right up until the end--their behavior totally baffled the priests, but I admired their courage. All of these stories had a deep effect on me, and I tried to imagine living in such an atmosphere of hate and fear, not because someone was a bad person, but simply because of who they chose to love.

I also wanted to write a novel about the intimacy that men often share with one another, whether they are heterosexual or homosexual. It's not so much about fathers and sons as it is about how we often find our closest brothers and sisters are those who stand outside our blood lines.

What else about your book might pique the reader's interest? The angels and daimons in Garden aren't the Biblical good vs. evil sort like I had in Miserere. In Garden, I wanted to toy with the idea that angels and daimons (old gods) were different species of beings and what would happen if these different species mated with mortals.

And they had a war.

And the Nephilim could change into lynxes and wolves.

And you could work magic with a song.

And lots of other cool shit.

Reincarnation also intrigues me and I use that theme in Garden. I wound the men's past lives into their present lives, so we can see how Ithiel, Asaph, and Benaiah were in their first-born lives, then we see how some aspects of their personalities remain the same, yet other aspects are completely different, when they are reborn as Guillermo, Diago, and Miquel.

And if you just followed that sentence, you're going to love this book.

Next up, I've tagged five authors to participate and tell you about their Next Big Things:

Leah Raeder -- who is just too cool for words and is currently shopping her novel, The Feral. She is the Borges to my Garcia Lorca and is an all around interesting person to boot. That and we share a passionate love for our boy, Carlos.

Lindsay Smith -- who has been see hanging out with Leah Raeder and myself (please don't hold that against her) is the author of Sekret, which is coming from Roaring Brook Press/Macmillan Children’s in Winter 2014.

Kendra Highley -- author of Matt Archer: Monster Hunter. Kendra and I go back to my days at the Online Writing Workshop where we bonded and still mete out the occasional crit. Check in and say hi to see her talk about her newest novel.

Gabi Stevens -- is a new agency-mate of mine at Stringer Lit. Gabi is an award winning author, who is working on the publication of the backlist that she wrote as Gabriella Anderson. Her latest work is The Falcon and the Wolf.

Wende Dikec -- Wende is also a new agency-mate of mine, and she writes YA with a science fiction edge. Her next big thing is a novel called So Pretty. Head over to see what she has to say about it.

And since being tagged by Alex, I got tagged again by my friends Barbara Friend Ish and Helen Lowe, so pop over and see what their Next Big Things are going to be too.

And THAT ... is all the big things for now.

Friday
Nov162012

a guest post on research at 52 Book Reviews

Matt Gilliard at 52 Book Reviews is hosting a Speculative Fiction Writer's 101. He asked that I talk about using research in your stories, so guess what? Here is me, writing about research in your novels. Head over and say hi to Matt and you can read about research with none other than yours truly.

Thursday
Nov152012

write with your whole self ...

Here is a quote by Upton Sinclair that I love:
So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilization, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age—the degradation of man by poverty, the ruin of women by starvation, and the dwarfing of childhood by physical and spiritual night—are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless. --Upton Sinclair in the preface of Les Misérables
Write with your whole self, or not at all ...
Tuesday
Oct302012

a few quick thoughts

A lovely gentleman emailed me on Facebook to ask for a status update on my current novel. His email made me realize I'd been rather lax about the blog. So here, for what it's worth, are a few updates:

  • I'm involved in the final edits of THE GARDEN. Due to the need for a new chapter towards the end of the novel, the dynamics in two subsequent chapters have changed somewhat, so I'm working on the rewrites of those scenes.
  • Another part of wrapping up my final edits includes reading the text out loud for clunky sentences and poor grammar. It's time consuming, but the process helps me catch missing words and/or clumsy phrasing.
  • I'm also finalizing some research on honorifics for Hebrew kings. Yair Goldberg has been invaluable in sending me information, so I should have those details hammered out soon.
  • Speaking of research, I'm working a blog post about the need for research in a novel. I'll keep you posted about that.
  • I'll be talking about Urban Fantasy and Gothic fiction on the newest Mind Meld. Watch SF Signal for updates.

To all my dear friends in New York City and in the northeast: My heart goes out to you in this terrible crisis. Please keep yourselves safe and know that we are thinking of you--and sending whatever aid we can.

Friday
Oct122012

the dark sounds

"You have a voice, you understand style, but you'll never ever succeed,
because you have no duende." --Manuel Torre*

 

I had a muse once. She sat upon an ivory column and occasionally tossed nuggets of prose into my brain, then she would smile and fall mute. She was made of mist and glass, a fragile creature that hid her face on a moment's notice. I thought myself a failure as an artist because she didn't serve me, but that was before I found the duende.

The muse is a voice, she is style, but she is not the same as duende. The muse is a whim; duende is the truth of the soul.

Duende is hard to define, but you know it when you see it. Duende produces a visceral reaction and makes your soul shout. The dancer lifts his hands and stamps his foot, and you feel the emotion of that movement from the soles of your feet to the top of your head.

It is in poetry:

I do not love you as if you were salt-rose, or topaz,
or the arrow of carnations the fire shoots off.
I love you as certain dark things are to be loved,
in secret, between the shadow and the soul.

               ---Sonnet XVII, Pablo Neruda

Duende is all darkness and light, mixed together and revealed through performance. Do not confuse duende with chiaroscuro. Chiaroscuro is the contrast of light and dark, all black and white with pale shades of gray. The duende blends light and dark to produce hues that are deeper, more vibrant and intense. Duende encompasses spirituality in a way that chiaroscuro doesn't.

Chiaroscuro is technique. Duende is loss and yearning and hope made manifest.

The muse whispers. The duende is a wild undulation in the night, a black spirit that gives nothing, but wrenches each word from the heart and flings it across the page in blood and tears.

Keep your muse.
I dance with the duende,
I dance in the dark,
and I see the light.

 _____________________________

*The quote is taken from a lecture given by the Spanish poet Federico Garcia Lorca in 1933, Theory and Play of the Duende.

Monday
Oct012012

still editing and a snippet from The Garden

I'm rounding into the last quarter of The Garden with edits. Over the weekend, I passed one of my favorite scenes:

Belita stood by the window that overlooked the Garden. The yew groaned, a wild and lonesome sound beneath the wind. The scent of Ashmedai’s offering floated into her chamber and offended her with its stench.

“Who burns?” she asked.

Esteuan, said Federico from behind the shield of his newly formed mirror. Esteuan did not return from the offering. Mateho seeks Lope. I say Esteuan burns.

No dissents came from the other mirrors or the vines. The odor of smoke and iron drifted on the mist.

“Esteuan,” she whispered his name but did not detect a response. The stumps on her back twitched as if her phantom wings might lift her to the air. “Esteuan,” she called louder. Her voice rang through the orchard and flew on the wind.

Silence answered her entreaties. His soul did not come. The smell of smoke and iron lingered in the night.

“My brave Esteuan,” she whispered.

This week will see me working on the last quarter of the novel. I'm at 105,000 words and there will be more before this novel is done.

I have two guest posts coming up in the month of October. Stay tuned, I'll be keeping you posted.

Meanwhile, I'm going back to the edits ...