RITA ® Award-Winning Author of Fantasy Romance
Author: Jeffe Kennedy
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I’m over at Word Whores today, talking about how my writing routine varies depending on what day of the week it is or where I am in writing a story.
(And sorry for no blog post on Friday – WordPress was not cooperating!)
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Tomorrow is Isabel’s 7th birthday, so this is her birthday portrait.
I’ve been working diligently on the Phantom story, laying down the words, working up the story. (I feel really hip saying it like that, like “laying down the tracks.” I’ve been kind of obsessed with Pitch Perfect and how songs mash-up. That, however, is probably a different, but related post.)
It’s been interesting because, as you may or may not recall, this will be an eSerial. The story will be broken into six parts, released 2-4 weeks apart. I’m surprised at how much this feels like a new form to me. Normally I set up my story according the classic three-act structure. If you aren’t familiar, that means the Act I climax occurs around 25%, the midpoint or story hinge around 50%, the Act II climax at 75%, Act III climax at ~90% followed by denouement and assorted wrap-up. The simplest explanation I’ve heard for the three acts is: get your protagonist up a tree, throw rocks at him/her, get him or her down again. With the Phantom story, I figured out my overall arc and then set up mini-arcs for each episode as well. It makes for an interesting rhythm.
Lest you think I actually plot things out ahead of time, however, let me disabuse you of that notion immediately. I don’t. I can’t, really. I’m a write-for-discovery kind of gal and I seem to be unable to figure out the story any other way. I’m at peace with that. The writers who extensively plot and outline ahead of time usually call this “pantsing” as in “flying by the seat of your pants.” I don’t much like this term. I think it says more about their fear of being out of control than anything salient about my method.
I was realizing, as I worked up this new structure, that this is like stretching canvas for me. I have painter friends and I love to watch them prepare canvas. One taught me how, so I could easily transport one of his paintings home and re-stretch it. They assemble the wooden frame to a particular size, choose the type of canvas they want, pull it tight over the frame and staple or nail it on. Then they add various gessos or other foundations, depending on their plans. (At this point I get fuzzy on the details.)
This is how setting up the story is for me: choosing the size, the foundation, with a sense of how it will eventually look. Then I paint the picture.
The other really cool thing I discovered is how my structures interweave. Oh look, I’m back to the mash-up thing. Guess it IS related. See, if you don’t know, a mash-up is when they take two or more different songs and weave them together. They might share a rhythm line and then the melodies work around each other, playing in counterpoint and blending, creating an entirely new song. Forgive me if I’m getting terms wrong, because I’m just not very good at understanding music. I *want* to understand, so I listen intently to this kind of thing, wanting to organically GET how this works.
An old boyfriend once cited the fact that I listen to the same songs over and over again as one factor in him dumping me. I can see that. But I also see how my tendency to get fixated on something like this also contributes to my understanding of other things. I didn’t get why I’ve been listening to the Pitch Perfect mash-ups on iPod over and over until just now.
My story is working the same way. Okay – if you hate math, leave now. But this is an example of what I found out. If I do 6 15K episodes, that’s 90K, give or take. That’s my overall frame. The Act I climax of the overall story takes place then around 22,500 words. That’s in the second episode. By the end of Act I, I should have my protagonist thoroughly up a tree – all the story clues and components should be in place. If I look at the internal structure of Episode 2, the midpoint, the story hinge, where things really change direction, occurs at 7,500 words into the 15K episode (halfway), which is at 22,500 words overall. Do you see? The overall Act I climax will be the SAME EVENT as the Episode 2 midpoint!
Isn’t that cool??
Just me?
If it were a musical mash-up, it would be that point where the two songs spiral up together and hit that came climactic note, for one harmonious moment.
We’ll see if it works like I hope it will. Off to paint in some images!
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I’m over at Word Whores today, talking about writing when you’re sick.
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One of my Twitter friends mentioned how worked up she is about her new release. She asked if authors get used to it and how long the excitement lasts after release for more-established authors. A week? Two?
I replied to her and we had an interesting conversation about it. Then, yesterday, I saw on Goodreads that – overnight – over a hundred people had added Platinum to their “To Read” lists. This is a really fun thing to wake up and see. I Tweeted about it, wondering why the sudden surge. Several people suggested possibilities – very likely that it was cited on some high-traffic list – but I haven’t figured it out yet.
Then I went back to work on the Phantom book.
And this, I think, it what makes all the difference between authors of one books and authors of multiple books. The more books you have out there, the more books you’re writing, the less ability you have to obsess over one.
For example, with Goodreads, when I log on – and it’s one of my default pages for when I open Firefox – I have a sidebar that shows my stuff. At the top is my Author Dashboard, which shows my most recent publication. That’s Platinum right now, which is why I immediately notice the numbers. It shows me the cover, how many people have added it, how many rankings and how many reviews. To see more detail than that, or my other books, I have to click and go to the page. I rarely do this, because I think it’s putting my attention on the wrong things. (The main reason I have Goodreads on default is to remind me to update my status on whatever I’m currently reading – also in the sidebar.)
Now that Platinum pops up on that home page, I don’t see the Rogue’s Pawn ranking and review numbers anymore. It makes me move on, regardless of how well a book is performing.
The other thing I notice, now that I have seven fiction publications out there, is that different readers like different stories. We all go into this *knowing* that, but it’s difficult to keep in mind when a reader doesn’t like YOUR book. The perspective gets infinitely better when they don’t like this one, but do like that one.
So, all those times industry folks say the best thing you can do is write more stories? This is yet another reason why.
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I’m sure you guys knew this already – I mean, what else do you have to keep track of?? – but Platinum is coming out February 25.
It’s up on Net Galley now, if you’re a reviewer type. So, because it is up for reviewers, I’m starting to get feedback on it – which is always fun. People seem to be enjoying the story in the ways I hoped they would. But it’s kind of difficult for me to get as totally revved as they are. It’s several stories ago for me now, so it’s kind of old news.
Which is a weird place to be.
It makes me think of this interview I saw with Barbara McClintock when she won the Nobel Prize for Physiology or Medicine in 1983. She was 81 when she received the prize and I remember the interviewer was someone much younger and full of enthusiasm. The interviewer asked if Barbara wasn’t just SO EXCITED about the award. For Jumping Genes! (Transposable elements in DNA) Everyone was just *so* interested in this amazing discovery!
And Barbara looked at her kind of funny and said something along the lines of, “Well, it’s always nice to be recognized, but I did that work forty years ago and I was excited about it then. What I’m working on right now is what’s most interesting to me.”
Which deflated the interviewer a bit.
Interestingly, she had stopped publishing her work on the transposable elements in DNA back in 1953, because she encountered so much skepticism about it. I could really see how being awarded an unshared Nobel prize (the only woman to ever receive an unshared Nobel prize in that category) thirty years later might be a little…anti-climactic.
Not that the incipient release of Platinum compares in any way to the magnitude of McClintock’s discovery. I just think it’s important to remember that the joy of creation – or discovery – remains forever a separate thing from other people’s validation of it. Usually it comes much later and often after they gave you all kinds of shit for doing it in the first place.
Then, later, when they tell you how great this thing you’ve done is, they never remember that they were skeptical, just that they love it now.
Which is okay.
After all – enthusiasm is always to be treasured.
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I’m over at Word Whores today, talking about how I read differently now that I’m a writer – to my regret.
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This is our master bathroom – and Jackson waiting for a mouse.
All night and all day.
See, the bathroom cabinet there has a space in that overhang at the bottom. I can just fit about half of my hand in there, before the pinch stops me. I know this because I’ve tried. Just a few days after we moved in, I dropped the lid to a little sparkly beaded box from India that I store my belly-button jewelry in. The lid hit the floor, bounced exactly right (what are the odds?) and went up and into that space under the cabinet.
Gone forever, unless I want to tear out the cabinet.
See, the inside of the cabinet is all solid-state – even if you pull out the drawers, etc., there’s no access to the space beneath. That bottom panel is firmly affixed. Short of using a crowbar, I’m not budging it.
This also makes it a perfect escape hatch for mice being hunted by the cats.
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Did you know that today is Marco Polo Day??
Oh, come on. Yes, you did. You celebrate every year, don’t you?
So, fellow author Voirey Linger came up with a little game for today. Here’s the repost from her site:
January 9, 1324, Marco Polo slipped the bonds of this world and drifted into history. He explored Asia, established trade routes with China, and launched a summer game loved by millions.
To celebrate his life and his game, we are launching Marco Polo day on Twitter. The rules are simple. Follow the players listed below from your Twitter account. When one of them yells MARCO you hit reply and @ them with POLO. First to respond will win an ebook. If you’re not following, you can’t win.
You can see a list of participating authors here.
As for me, three times today I will yell out MARCO! on Twitter. First to reply with POLO gets a digital copy of any of my books – including PLATINUM, which isn’t on sale until February 25.
Sounds fun, yes?
Let’s Play!
//I just found out that the lovely readers at Love Romances Cafe nominated Rogue’s Pawn for Best Paranormal/Fantasy Book of 2012. I’m just so pleased and surprised!
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If you look closely, that thermometer reads 9.3 degrees F. Brr! But then the sun rose high enough, it warmed up, and all the fairy frost disappeared.
Last Friday I posted about something I learned about writing from reading Tina Fey’s Bossypants. I extracted so many great nuggets of wisdom from that book, I just have to share (at least) one more.
Amy Poehler was new to SNL and we were all crowded into the seventeenth-floor writers’ room, waiting for the Wednesday read-through to start. There were always a lot of noisy “comedy bits” going on in that room. Amy was in the middle of some such nonsense with Seth Meyers across the table, and she did something vulgar as a joke. I can’t remember what it was exactly, except it was dirty and loud and “unladylike.”
Jimmy Fallon, who was arguably the star of the show at the time, turned to her and in a faux-squeamish voice said, “Stop that! It’s not cute! I don’t like it.”
Amy dropped what she was doing, went black in the eyes for a second, and wheeled around on him. “I don’t fucking care if you like it.” Jimmy was visibly startled. Amy went right back to enjoying her ridiculous bit. (I should make it clear that Jimmy and Amy are very good friends and there was never any real beef between them. Insert penis joke here.)
With that exchange, a cosmic shift took place. Amy made it clear that she wasn’t there to be cute. She wasn’t there to play wives and girlfriends in the boys’ scenes. She was there to do what she wanted to do and she did not fucking care if you like it.
I was so happy. Weirdly, I remember thinking, “My friend is here! My friend is here!” Even though things had been going great for me at the show, with Amy there, I felt less alone.
(Fey, Tina (2011-04-05). Bossypants (Kindle Locations 1436-1441). Reagan Arthur Books. Kindle Edition.)
That chapter is subtitled “One in a series of love letters to Amy Poehler.” Now, I’ve long loved Amy Poehler’s comedy, too, but this made me adore her just that much more.
I think this makes a good mantra for writers. I’m going to take an extra step and say particularly for female writers. I know the guys suffer much of the same stuff we do – the critics, the rejections, the uncertainty. But I really do believe that, as females, we are strongly programmed by society to be likable. Women who are judged unlikable (Hillary Clinton, for example) are excoriated for it – a judgment that overshadows their other accomplishments. We learn very early that we are meant to be pretty, polite and affectionate. We might enjoy being those things, but feeling the pressure to be that – with little room for anything else – can really get to you over time.
Especially when you’re an artist. It’s hard (maybe impossible?) to make good art when you’re worried about people liking it. You might have to think about that stuff when it comes to marketing, but there’s no place for it when you’re creating. And, I think, it’s really hard for women to get away from that consideration.
So, this is a liberating thing.
Say it with me, kids.
I don’t fucking care if you like it!
I knew you could.