A meme, and an open mic

At the recommendation of a number of marketing websites, I'm trying my hand at creating memes and sending them off into the world.

Members of the Endless Mountains Writers Group were the featured performers at the Dietrich's open mic night last night. I had the opportunity to sit back and listen to the creations of my fellow storytellers, which was just wonderful. So often during Group, with the paper copies before me and the author's request of things-I-want-to-know-about-this-piece, I have my critique hat on and don't really get a chance to just hear the story develop. What a delightful change of pace. I heard some nuances of voice and character that would have been less obvious on paper, and I definitely felt the overall story flow better by listening to it.
Hildy (aka fearless leader) says she wants the Writers Group to participate in open mic at least annually. For now, I've made myself a promise to let my eyes do less critiquing and to just listen more.

Plastic Somethings

While cleaning today, I found an odd-shaped Plastic Something sitting on top of the freezer. It's no bigger than my thumbnail with little grooves and slots where it obviously is supposed to fit into or onto Something Else. Looks important, as if Something Else wouldn't work correctly without this strange missing piece. What that might be, I have no idea.

So I asked Michael if he could help me identify this Plastic Something. He didn't recognize the piece either. We now had a choice -

- toss it and find out in hours (or days or weeks) that the Plastic Something was indeed a vital part of Something Else and now the entire thing won't work and aaarrrggghhh! or...

- keep it just in case we figure out where it came from.

We placed it beside the other odd-shaped Somethings on a corner of his desk. Just in case. As time goes by, we'll realize that whatever it came from obviously works fine without it. Then we can pitch it in good conscience. But for now, it gathers dust with its soul mates on his desk.

The other day I found Word files on my desktop I'd written some time ago and forgotten about. Some were first drafts of short stories which I never polished. There were shorter bits too, snippets of character profiles, unusual settings, and story lines jotted down in 30 or more different Word files.
Don't get me wrong. Some are probably trash.
But others have potential. I've just never taken the time to develop them, or more to the point, to figure out where they might fit in some larger work.

Those pieces of manuscript are like that Plastic Something -  I keep them, just in case I figure out where they belong. After all, Something Else might not work properly without them.

Tell me a story and a Robin Williams moment

Last week, our granddaughters spent a few days with us. Addie who is 'almost four!' and whose language development is off-the-charts is at that wondrous stage of emerging imagination. One of her favorite requests is, "Tell me a story." Stories she knows about characters she loves are easy for re-telling - Nemo, Cinderella, the Three Little Pigs.

One afternoon, we were blowing bubbles outside and Addie stopped in her tracks. "Tell me a story about a magic bubble." She supplied the characters and in less than a minute, I had the rough sketch of a story in my head - beginning, middle, and end, problem and resolution, setting - all of it. Whoa. I told her my story and then dictated it into my voice recorder for safekeeping.

The following day, the same thing happened, this time with a story about 'a tree that's lost in the woods.' Trying to picture how a tree could get lost, I asked about the tree, could it walk and talk, like Tolkien's Ents. She said, "No, silly. Trees don't walk or talk. They're just trees." Ah, well. But again inside a minute, I had a story about a magic tree whose whereabouts had been lost to the ages.

Then I turned it around on her. "Your turn to tell a story," I said. "Who is it about?" I'm proud to say  she was the hero of her own story and she brought along a companion on her imaginary adventure, either her sister or her buddy Cole who lives down the street. I'd supply a detail or two, maybe the setting (a beach) or a problem (they lost their sand toys) and with a few 'and then what happened?' prompts, she'd take it from there. She is a great storyteller-in-the-making.

Ironic that this happened the week we lost one of our generation's great creative minds. When asked about how he came up with imaginative ideas in his classic rapid-fire style, the late Robin Williams once said it came to him as he watched his four-year-old playing with action figures. The child made different voices and personalities for each figure, creating villain-filled problems with hero-filled solutions. One of our generations greatest actors and comics said all he did was try to channel his inner four-year-old.

I'm thankful to have an imaginative four-year-old in my life too. 

The most frequent questions, Pt. 3

Will there be a sequel to Risking Exposure? What are you writing now?

When I finished writing Risking Exposure, I was tired. I had spent several years reading everything I could get my hands on about the Nazi era, watching documentaries, etc. Pouring through so much twisting of the truth and outright evil was exhausting, physically, emotionally, and spiritually. My conclusion was that I never wanted to read another thing about Nazi Germany ever again.


But within 6 or 8 weeks, something happened. I'd be driving down the road and a character I'd relegated to the 'deleted scenes' folder would pop into my mind. Something a neighbor said would remind me of a dialogue exchange I'd cut. Pretty soon those characters and exchanges were forming new scenes and it became clear - the characters in my deleted scenes folder wanted their story told too. It's my job to give them their opportunity.

What is taking shape is a sequel, although told through another character's POV. No, I don't have a title or a time frame for release. That's actually not even on my radar yet.
I've been researching events which took place in Munich during July 1938 until very early 1939, about 6 months after Risking Exposure ends. I have what I believe to be a framework on which to hang my story. In my over-ambitious mind, I have set a goal of getting a first draft written by the end of 2014. (I may kick myself for making that public.)

The most frequent questions

I've had the good fortune to take part in a number of book signings, and I've presented my historical research in front of more than 100 people now. Audiences have varied in age and size, but I find I'm being asked three questions at almost every event. I'll try to answer them here in installments.

1. Did you always want to be a writer/ write a book?
As a young girl, I did want to write stories. Even then, I was fascinated by the way stories and characters stayed with me, and I wanted to be able to have my ideas impact other people that way. Experiencing a story for me has always been close to experiencing it first-hand - I feel emotions, learn lessons, cheer for heroic actions, and weep over sad endings. Through reading historical fiction and stories set in distant lands, I've come to understand that people through history and around the world are pretty much the same.
So yes, I did want to write when I was a kid. But I also wanted to be a ballerina and to travel the world in a hot air balloon. Turns out I'm a klutz and not fond of heights, so those things didn't happen. And even though I loved creative writing class in high school, I never pursued it in my college or career  plans. I went to college to learn a skill to get a job, not to pursue an interest which would I thought would never earn me a living.

Once my own kids were grown and I had time for personal interests, I found that I still liked to write. In fact, the more I did it, the more I liked it. No, I loved it. Now, a perfect day for me involves some coffee, a good dose of sunshine, and a couple hours of writing.



Next:
Why would a nice person like you write about Nazi Germany?

How my 8th grade self's tombstone rubbing ended up in my book

In my adolescence and early teens, I had the good fortune to spend a couple weeks of summer vacation on Cape Cod with my friend Anne and her family. Anne's mom was a high school English teacher with a fascinating blend of etiquette and quirkiness. When we visited a local grist mill, she encouraged us to role-play Don Quixote fighting windmills; when we went clamming, we were treated to lengthy explanations of the plight of local fishermen. I came to expect a new perspective at every turn.

So the day she handed me a long roll of white paper and a brown wax block, I wasn't surprised. "Where are we going?" I asked. "To the cemetery," she said. "To collect poetry from old tombstones and hang them in the classroom."

I'd never seen poetry on a tombstone, just names and dates and maybe a little phrase like, "Loving mother," or "Forever at peace." But I was game. And sure enough, in the old sections of Cape Cod cemeteries, she led us to whaling-era tombstones etched with elaborate poems. Poems about the brave young man whose life was cut short by the merciless sea, the fair maiden who walked the pier awaiting his return and probably still walks there today, the stooped old woman who watched from the Widow's Walk atop her waterfront home, hoping and praying for her son's return. Dutifully, I rubbed the wax block over the paper to catch the words beneath, then carefully rolled the paper until it could be hung in the classroom. Honestly, I've forgotten most of them.

But the sentiment expressed on a very simple tombstone has stayed with me to this day. It was a plain stone, etched with a woman's name and the dates of her birth and death. Centered above that was the single phrase, "She hath done what she could."

I sat back and stared, stunned by that beautiful truth. Such an incredible testimony to a life well-lived. What more can we want than to do what is within our power to do? This woman may not have had money or success in the eyes of the world, but she had used the power given to her.

All these years later, that simple phrase still resonates with me. When I wrote my novel Risking Exposure, I integrated the search for that truth, that power into the main character's story line. The last words of the book are "I have done what I could." A totally satisfying ending for a story, taught to me by the memorial of an 19th century stranger's life.

Wattpad

A couple months ago, a woman in Writers Group at the Dietrich mentioned a story-sharing website called Wattpad so I checked it out. It's part social media, part writers-seeking-an-audience. Some confident writers use it to connect with readers and gain a following. Some have seen their stories there read over 200,000 times, garnishing tens of thousands of 'votes.'

New writers often use the site to get feedback from real readers on their work. And it offers something to readers as well. The anonymity provided by the internet might give a reader space to offer constructive feedback instead of a more saccharine "that's a nice story."

That same woman from Writers Group mentioned an acquaintance who posted the first couple chapters of her book a few pages at a time on Wattpad. In a few months, she gained about 7000 'followers' of her story. She self-published it and had thousands of immediate sales. Her audience was ready-made and the initial burst of sales was enough to put her on the best-seller list for a time. Was the story really that good? I couldn't say. But her marketing plan was awesome. She essentially used crowdsourcing not to develop the product but to develop the readership, to create a platform. That's exactly what happens on American Idol, The Voice, and a dozen other reality shows. Why not in stories?

If you want to see some of my stories on Wattpad, I'm jeanne42.

The voice journal

When asked to recommend books on writing, The Art of War for Writers by James Scott Bell often comes up at conferences, at workshops, and on blogs. I finally read it last week, and many of his 'strategies, tactics, and exercises' resonated with me. One of the most intriguing was his idea of a 'voice journal' for each character.

He advocates a stream-of-consciousness journal of a character's speech, documenting his/her description of self in whatever form it takes. The list format I used for my characters, bullet points describing traits and likes/dislikes, fell short in guiding me to full characterizations. So I embraced Mr. Bell's advice, closed my eyes, and let Sophie speak through my fingertips.In minutes, this is what I had:

Hi, my name is Sophie Adler. I’m fourteen and I live with my Mutti, my Papa, and my brother Klaus in a 5 room apt over our family’s bakery in Munich. I always wanted a pet, but my parents said no; since we have the bakery right downstairs it wouldn’t do to have an animal prowling around. I talked them into a cat, to act as a mouser in the alley behind our house. Her name is Skittle, because of the way she scurries away whenever someone tries to pick her up. Cats are that way; they want you when they want you, and when they don't want you they skitter away...

Maybe I like Skittle so much because she’s stealthy, living her life fully and completely as a cat, attached but not attached, watching and observing and waiting for opportunities to be part of the family, part of the group, but really a loner inside. She's like me... Quiet, observant, choosing who to reveal self to, who to avoid, scurrying away when cornered, making her own life in front of people and having a separate life they know nothing about.

The fascinating part about this? I've been writing/revising Sophie's story for several years, and I never had a pet in her story. And yet the prospect of a cat as her self-portrait is apt,and one that gives me whole new ways to frame her character and her story.

I feel refreshed; creating a voice journal for each of my characters will help me establish them more fully. That'll make my rewrites more fun.

Next time, I'll ...

There will be a second novel for me - the story is already spinning into shape in my mind, on Pinterest, in some basic notes on my voice recorder and on paper. I'll have some time off this fall,so I'll probably start pulling it together soon. But before I actually put pen to paper (or in reality, create a Word document,) I'll apply the lessons I learned from the convoluted journey of writing Risking Exposure.

What I'll do differently:

1. Put more flesh on my characters before I start writing. I'll write a biography of each character before I start - where/when they were born, schooling, friends, family structure, likes/dislikes, beliefs, quirks, personality type, traits, emotional make-up, intelligence, problem solving ability, strengths, weaknesses. That's far more detail in stone than I did before, and hopefully that'll cut down my need for extensive re-thinking of characters after the novel is done.

2. Put those characters in my setting and see how they act before I write a thing.
Each of us responds to circumstances differently. That's what makes us interesting. That's also what makes readers care about fictional characters and ultimately, what draws us back as readers. A good plot drives a story but a book, a memorable one at least, is about characters we care about.

3. Write out the story question and the pitch BEFORE I outline to make sure I stay focused. This means I'll need to UNDERSTAND my characters and what they want before I start writing. Again, this is essential to writing right.

4. Then I’ll outline. KM Weiland has written a well-received book on outlining and will soon offer a Writers Digest Workshop as well. Good timing for me to get the directed help I need.

5. After that's all done, I'll write. I'll let you know how that works for me.

What I've done right

That list of learn-as-I-go mistakes begs the obvious question: Did I do anything right?

Of course I did. Give myself a virtual pat on the back.

1. I kept my original protagonist, the setting, and her problem. Sophie, Munich, and the fate of the disabled in Nazi Germany are the foundation of my story, and I haven't strayed from that.

2. I researched my setting and her problem before, during, and after my first draft. I've learned more about Nazi Germany than I ever wanted to know, but the best research I did was tactile - I went to Munich with Katie and walked where Sophie would have walked, explored and smelled and tasted until I felt her heartbeat and heard her voice. I went to the Library of Congress and wore white gloves to examine actual era photographs. I opened the crackling yellowed pages of Nazi newspapers and read first-hand reports of the parade at the end of the novel, saw the way it was portrayed to the people, and photographed columns of text to translate at home.

3. I decided to tell the story in Sophie's first-person voice. As soon as I did, she began to speak.

4. I decided the story I'd originally planned was too cumbersome, too complicated, and the fantasy elements felt forced. I ditched the fantasy and multiple story lines in favor of a straight historical fiction story. Honestly, I still like those fantasy elements but they don't belong in this story.

5. I didn’t set a time frame for finishing the book, just a time frame of writing for 10 hours per week.

6. I allowed myself many many rewrites and didn’t hang onto beloved words, scenes, or characters. But I saved the various versions of my story as it evolved, and I plan to use some of my favorite deleted characters and scenes in future stories.

7. I read a lot about writing, attended the Dietrich Theater Writers Group regularly as a reader and critiquer, went to writing SCBWI workshops and conferences, and read well-written books. As I surrounded myself with writers and works that shine, I absorbed.

8. I took in everyone’s advice. But I took to heart only the advice that resonated with me. I'm not writing this book by committee. It's mine and Sophie's.

9. I loved Sophie and committed myself to telling her story, regardless of how many rewrites it took.

10. I kept practicing, kept writing. I didn’t see changes in my writing skill week to week, but gradually, I have improved.

11. I haven’t let setbacks or (many many) rejections get me down for the long term. When I'm frustrated or stuck, I put the work aside for a couple weeks. That freshens my perspective and increases my objectivity. Then I can tackle it again.

Next up, and the last of this series - what I'll do different next time.

What I learned during my ten thousand hours of practice, Pt. 2

So there I was, with some basic ideas, characters, and a visual display of my outline. I'd just start writing and the story would gel, right? Like the premise of driving at night - you can only see as far as your headlights allow, but as you move forward, it's always just enough.

Right? Wrong. Reality check.

What I realized once I got going:
1. The short articles I’d written had all been non-fiction. I’d never created a character before.
2. The characters I created were cardboard.
3. I’d never written a plot before.
4. The plot I wrote dragged.

5. I had no idea where to really begin my story and wrote about 10 different opening scenes. Most occurred earlier in the story than the previously attempted opening.
6. Writing a scene from a single sentence on an index card may have worked if the characters had been fleshed out. Mine hadn’t been, and they didn’t get flesh until I started writing about them. Then they got mouthy and demanded changes to the plot I’d planned for them.
7. Writing the plot on index cards might have worked as well, but again, those darn characters took over the action and I had to do their bidding.

I took down the index cards and their long paper framework and burned them.
8. I tried plan B, to write the story ‘organically’, just let it grow from the seed of the story setting and problem.
9. Writing organically takes me a really long time, because it’s mostly false starts and wrong turns.
10. It’s hard for me to discipline my mind and keep it on track when I write organically. I need the structure of an outline, and my outline was crap.

Tomorrow - more of what I realized once I got going.

What I learned during my ten thousand hours of practice, Pt. 1

Malcolm Gladwell famously said that the key to success in any task is logging ten thousand hours of practice. His belief is that perseverance pays off, and I see the logic in that. It jives with the tongue-in-cheek answer to the NY tourist question, "How do I get to Carnegie Hall?" "Practice, practice, practice."

There's an acronym for this concept in the writing world: BIC, butt-in-chair. So as I began to write a novel, I knew I'd need to put in some serious time before I'd have a story worth reading.

I've learned much during these hours in the chair, and over the next few days, I'll share some of the insights I've gained.

As with any new project, I started with a baseline of ideas, assumptions, and skills.
What I thought when I started my novel:

1. I had a good idea for a setting and a problem.

2. I had a couple basic characters and spent a little time thinking about them.

3. That was enough to get me started; I’d work out the details as I went.

4. I wrote an idea for each scene on an index card and stuck them in sequence on a long roll of paper. All I had to do was take down a card, write that scene, and move on to the next.

5. Writing this novel would be like writing the short articles I’d written; it would just take me longer.

6. I’d start at the beginning of the story and write straight through until the ending.

7. I’d write a historical fantasy with multiple story lines and multiple protagonists converging into a climactic whole.

8. I enrolled in a novel-writing course when I started, so that would help me work through the bumps.

9. I knew how to write fiction because I liked to read fiction.

Tomorrow: What I realized once I got going.

Lessons and stone walls

As my ideas for another book start to gel, I'm applying the lessons I learned from writing my first book. These lessons were learned the hard way - the best way for me - through mistakes that cost time and effort.

1. First and foremost, I need to spend more time fleshing out my characters before I start writing. Most of the rewriting and editing I've done is because my incomplete character profiles led to confusing character actions or dialogue.

2. I need a more thorough outline, one that integrates the plot and the characters more fully. I developed what I thought was an outline but in actuality, it consisted only of plot points. Once I put characters into those situations, they didn't act as I planned and I had to tear up the whole outline (or in my case, tear down, since I had the outline taped to the wall) and start over. And again. And again.

3. I need to discipline the temptation to get side-tracked from the main point of the story. I now keep the Story Question and the Story Pitch taped over my desk as reminders of 'what my story is about.'

4. I need to do lots of research before I start. This is something I actually did right (!) with Risking Exposure. I read, watched documentaries, traveled to Munich to walk where Sophie would have walked and to study 1930's maps in the city archives, all before I started the real work of writing the story. My research has continued of course, as I needed details to be added to my ever-changing story.

In that vein, I've started some basic research for the story percolating in my head (see my post about Pinterest.) It involves stone walls and the bad news is my knowledge about them could fill a thimble. The good news is the Brooklyn PA Historical Society hosted a lecture on this region's stone walls by Ken Ely, a local enthusiast who teaches about and restores old walls as an avocation. He used dozens of slides to share his passion for these beautiful structures, describing their original purpose (to define property boundaries and keep livestock in), their construction and common features, as well as their restoration and preservation as part of our local heritage.

I learned that beneath the simple beauty of the stone wall that separates our property from the mountain behind lies a complex balance achieved through someone's investment of time, effort, and a vision of the completed task.

Which is also what I need to invest in my stories.

Some irons in the fire

I've read that success in any venture comes only after about 1,000 hours of practice (Malcolm Gladwell, I think.)Given the part-time nature of my writing efforts, I've done well with a dozen or so published articles and stories but I'm still bummed when my inbox dings with the inevitable rejection letters. I guess that's the trade-off: keep my stories on my computer where they'll be cozy and safe but forever unread, or risk sending them into the big wide world and hope they'll find a home and a readership.

I soften the blow of (repeated) rejection by having a number of projects at once, multiple irons in the fire.

I currently have a couple short stories, a magazine article or two, a picture book, and a novel, all in various stages of development and submission. I even have begun character sketches and an outline for another novel, including some Pinterest photos.
That oughta keep me busy while I recover.

Permission to fail

Newsweek has a great weekly column called "My Favorite Mistake." This one is with Sara Blakely, the woman who invented Spanx (you know, those spandex undergarments designed to keep the jiggles in place.) In it, she describes an embarrassing error during an interview on the BBC - which she apparently handled gracefully. She had been raised to respect the effort she put into an endeavor, not its immediate or ultimate success. As it happened, her mistake opened doors for her, but the reader gets the sense that even if it weren't so, she would have learned from it and moved on.

I was reminded of a quote by Edwin Land, a co-founder of the Polaroid Corporation and inventor of numerous items for the photography industry.

An essential aspect of creativity is not being afraid to fail.

And one of my favorite singer/songwriters, Billy Joel, said,

Take it from me, you learn more from your accidents than anything you could ever learn at school.

Knowing that failure is part of the creative process doesn't make it any more palatable. Failure is just the side dish, which we can hopefully stomach on our way to the main course.

This blog post has no title.

Apparently, I stink at titles.
On my novel's journey from concept to final edits, I've given it about 10 different working titles. I've tried short titles "FOCUS," long titles "WHAT I SAW AND WHAT I DID ABOUT IT," and everything in between.

The most recent title, "THE LAST PINKY TOE PROMISE," went right out the window with my latest edits. Both the agent and editor who generously shared their insights questioned some specifics of Sophie's avoidance of the truth, including her technique to 'make' promises null and void by crossing her pinky toe inside her shoe. I cut that piece, and the story truly does read cleaner and more focused without it. Too bad; the title was memorable and certainly unique.

So this morning in the shower, I brainstormed for a title. No soap. [insert groan here] Later, I took some sage advice from the Write and Publish Fiction website. I wrote a brief summary and then listed all the nouns and all the verbs. Then I created lots of noun/verb combinations. The result?
I struck out again.

Grand prize winner

My friend Jalinn shared this video with me, and I want to share it with the world. It's the Grand Prize winner of a the Phillips "Tell it your way" competition. Requirements: the film could be no longer than three minutes, contain only 6 lines of narrative, and must tell a compelling story. The winner was "Porcelain Unicorn" from American director Keegan Wilcox.
We should all be such amazing storytellers. Enjoy.