Tuesday, December 8, 2009

Holding my breath and jumping off the high-dive ...

That's how I feel about what I'm about to do. I just sent out the first third (possibly fourth) of my untitled WIP to my trusted Brilliant Editors (or Beta Editors ... whatever their official title, they're the "BE"s I'm always referring to). But I don't plan to stop with them. I want YOU ALL to read it too. Okay, not 15 chapters (36,000 words)-worth, but the first chapter, at least. I'd love your initial reaction, or if you're more of a minutia-oriented reader, feel free to pick it apart line-by-line. It's your call.

Stay tuned for my next post, which is going to be about good v. bad feedback. Like everyone, I've had my share of both. (Actually, that's not true - I have only ever had one experience where I felt the critique was so off the mark that it truly jarred me. I later learned from industry professionals that this person - an editor - went completely against Literary Editor Etiquette 101. But that's a story for next week ...) Can you tell I'm stalling? Alright ... *sucking in breath* ... here goes ... *BIG SPLASH!!!*

Chapter 1

That September morning had been so eerily bright and blue that Marcus would later wonder if some cosmic force had been trying to warn him, and everyone else ambling along Wall Street that day, to be on high alert. He would chastise himself for running early, for once, that morning. His grandfather had made a luncheon reservation at Fraunces Tavern, just around the corner from his William Street office, but that was for twelve-thirty. Had Marcus arrived closer to the appointed hour, they would have gone directly to the restaurant by way of South William, instead of strolling up William and down Wall Street to kill time. However, these thoughts did not yet occupy Marcus’s mind that day when he met the tall, commanding figure whose dark eyes and thick, wavy hair - no longer chestnut but ash-colored - looked so much like his own, add forty-seven years.

Even though he had been to his grandfather’s office at least a dozen times over the years, Marcus still found himself awed and humbled by the grandiosity of it all. His eyes darted from intricately molded ceiling to gilt and mirrored wall as the two men walked from the office of Torrington Wilke Baker to the elevator bay. They stepped into the elevator and Marcus’s grandfather nodded to the short attendant wearing a crisp red suit. The operator punched and pulled the cage’s brass buttons in a deliberate way that made him appear very proud of his role in controlling access to and from this megalithic granite tower.

“I feel honored you decided to spend your day off down here with me, Marcus.”

“I couldn’t think of a better way to spend the day.”

Oliver Marcus Torrington the First laughed in that low, rumbling way that had always made Marcus feel safe and secure as a child. “The last thing I would have wanted to do on a day off from my first week at Yale would have been to spend time with my family. Don’t get me wrong, I loved my father. But he never seemed to want to stray more than half a mile from the Edenbrook campus.” The creases around Oliver’s deep-set eyes multiplied as his lips tightened. “Seven years at that damn place was enough for me.”

Marcus and his grandfather rode the rest of the way to the lobby in silence. Marcus knew better than to make some glib comment when his grandfather brooded about the past. Oliver’s peers at Edenbrook had made it clear to him at an early age that the son of an Academy history teacher was not, and never would be, one of them. Marcus suspected that graduating top of his high school class, going on to Yale with many of them, and then building a financial empire, had not, at least in his grandfather’s eyes, completely erased this hierarchy.

The elevator arrived in the lobby and the man in red opened the cage door and bid a good day to his two passengers. Marcus admired the swirling Japonica designs on the mirrors which paneled the lobby. This was the third office building Oliver had been based out of in his almost forty years as founder and chief financial officer of the ever-growing Torrington Wilke Baker. The brokerage firm had moved into this turn-of-the-century tower just days after the last stone had been laid. It was the only one of his grandfather’s offices that Marcus had ever been to. The building itself had long been branded in his mind as an appendage to his grandfather’s hearty physique.

As if reading his grandson’s thoughts, Oliver said, “I hope you’re prepared to say good-bye to this old girl.”

“What?”

“This building – she’s been good to us over the past two decades, but I don’t know how much longer she’s going to be able to hold us. Torrington Wilke Baker is expanding.”

“Moving?”

“Yes sir. We hired six new accountants over the past few months, and right now they’re sitting two to a cubicle.”

Marcus and Oliver passed through the brass and glass revolving doors and out onto the damp, narrow street. Marcus inhaled the pungent odor of seawater, freshly-washed stone, burnt coal and just a hint of horse manure, any combination of which would forever trigger thoughts of this day in his mind for years to come.

“So when might you make this move, Grandfather?”

“That I’m not sure of. Winston has been looking into office spaces in the area, but has yet to find one that meets all our needs. Hopefully sometime next spring.”

Marcus wanted to ask his grandfather whether he himself would follow his firm to the new location, or might he see this as a good time to retire. Oliver was, after all, about to celebrate his sixty-fifth birthday in a few weeks. But Marcus thought better of this question. Mortality – even slowing down – was not a topic of conversation ever entertained by Oliver Marcus Torrington the First. So as the two men turned left onto Wall Street, Marcus decided to steer the conversation to something light and inoffensive.

“I’m getting hungry. What do …” The reverberant gonging of Trinity Church’s noon bell absorbed the last part of Marcus’s question.

“Yes, me too. Fraunces Tavern has the best …” The church bells swallowed the dish which Oliver proposed to Marcus.

As they continued ambling down the cobblestone street, Marcus was struck by the larger-than-life quality of the view before him. Straight ahead was the pink spire of Trinity Church, one-time spiritual home of Alexander Hamilton. And coming up on the right was Federal Hall, where the country’s first president was inaugurated, and where the Bill of Rights was passed – the spiritual home of democracy, one could say.

Marcus mused that, were someone to drop down out of the sky in front of this impressive structure, they might think they were in Ancient Greece, but for the austere bronze face of George Washington peering down on them from his pedestal on the steps. And finally, Broad Street came into sight on Marcus’s left, and with it, the Corinthian topped columns and highly-ornamented pediment of America’s temple of finance – the New York Stock Exchange. Across the street stood the temple’s high priestess - the office of J.P. Morgan & Company.

The twelfth and final gong sounded, and the low hum of busy bankers chattering on the street could be heard once more. Marcus glanced at his grandfather, whose brown eyes danced as he took in the neighborhood that had nurtured his ambition all these years. Marcus was about to comment on their good fortune at having such lovely weather when a deafening noise, unlike anything he had ever heard, roared through his head. And with it came a strange new odor, one that was acrid, thick, and just a little sweet.

In years to come, Marcus would not be able to remember with any clarity the order of events which ensued. They became like items for sale in a retail catalogue – detached from one another, adorned with romanticized illustrations. Because Marcus’s eyes were soon filled with scratchy bits of dust, he would have to rely on his imagination to create these pictures.

First there was the sound of metal shrieking and crunching. He saw this as a steel-jawed giant waking from a long slumber, bearing its teeth as it half-yawned, half-screamed itself into consciousness. Then there were the shards of glass which cut into his back as he doubled over in the street, trying to stay small. The catalogue illustration for these would depict tiny prisms hailing from heaven, drowning in an ocean of dust and debris. And then there were the chunks of hot metal which beat all around Marcus’s feet. These were pictured as sunbursts shooting from the sky.

And then, when an object (which Marcus would later learn was nothing more than a two inch lug nut) made contact with his scalp, he added the final picture to his catalogue. A wash of bright white, followed by black.

***

There ends the first half of Chapter 1 ... I'll include the 2nd half in my next post ... ;-)

Saturday, December 5, 2009

Blog-to-Blog: What we all can learn from Amy March ...

Take a look at this wonderfully provocative post from Megan Rebekah Blogs. So what's your initial reaction? When I read that "Tweet" about metaphorically burning one's manuscript, I instinctively cringed, as I think any writer who has slaved for months (or years) over a WIP would. And then I had this delayed reaction: "More brilliant words have never been written!" I realized that I myself had basically "burned" the first draft of my current WIP. Here's the back story ...

After I finished the first (personally revised but without beta input) draft of my 160,000 word (roughly 400-page) novel, I sent it around to my BEs for feedback. I got some great critiques - overall, everyone thought it was an enjoyable read. However, a number of people pointed out lags and sags in certain subplots, a couple of dead-weight characters that got too much page time, and some personality inconsistencies. Oh, and let's not forget that little exposition problem I keep mentioning ... ;-)-

After sifting though all this feedback, I felt confused. It was as if I was standing at a multi-pronged fork in the road. One road (a dead-end, really) led to abandoning the novel completely and moving on to something else. This was the road I took with my first novel. However, I had no desire to go there again with this one. So that left two other paths not-yet-travelled ... one leading to the revision of what I'd already written, and the other to a rewrite from scratch.

Of course, the latter sounded like such a monumental undertaking that I didn't even consider it, at first. The sensible choice would be to simply revise my current manuscript, right? And then I thought, what if I spend the next 3-6 months patching up holes and cobbling together new passages with old ones, only to end up with a disjointed Frankenstein monster of a novel?

So what does all this have to do with Amy March, some of you may be asking. (Others of you may be saying, "Who is Amy March?") As a child, Amy March was, in my opinion, the most dastardly villain in all of young adult fiction. Yes, I am referring to Jo's youngest sister in Little Women. She got on my nerves from the get-go with her princessy ways, but the moment she threw Jo's novel into the fire, she became my arch-nemesis. Even as a child of 9, or however old I was when I read Louisa May Alcott's classic, I identified with Jo's trials and tribulations as an aspiring writer. And even when Jo forgave her bratty little sister, I didn't. I mean, how dare Amy burn the manuscript that Jo had toiled over for months?

If I recall correctly, Jo came to realize that rewriting her book was not the end of the world. In fact, it might even be a blessing in disguise. So, nobly, she set to recreating the entire story (and staying on her sister's good side!) Of course, Jo's literary struggles didn't end there. When she finally got a professional editor (her eventual true love ...) to read her book, he dismissed it outright and told her to go back to the drawing board!

So how does this tale fit into our lives as writers? Perhaps it reminds us that we can always improve, and that no time spent writing is ever wasted. Does this mean we should never be satisfied with the work we produce? Of course not! (Goodness knows many of us - myself included - revise our work into the ground to the point that someone just needs to pry the computer out of our hands and put an end to the cycle!)

But I think we all know, deep down inside, when a piece truly does still need work. Start by listening to your beta readers - what are their first impressions? I'll save my detailed analyses of "constructive verses detrimental feedback" for another post, but for now, let's just assume that you have received enough helpful feedback to know that your WIP misses the mark in some way(s). Now it's time to ask yourself, are these critiques minor enough that reworking a few lines here and there (rewriting a couple of passages, or perhaps one chapter, at most) will suffice? Or is what lays ahead of you a major overhauling of plotlines, characters, and writing style?

If you answered yes to that last question (as I recently did), I strongly urge you to go down Burn-That-Book Road. Just remember, we're talking about a metaphorical burning here. Tuck that first draft into your "writing graveyard" folder and open up a brand new Word doc. Do just what that Tweet said and launch into your rewrite from memory. I think you'll be pleasantly shocked, as I was, by how freely and quickly the ideas flow, and by how much more you like the words falling from your fingertips the second time around.

Saturday, November 28, 2009

Walk the Walk!

So my husband and I came down to the city for our annual gorge-fest with loved ones, and to spend the weekend. Aside from hanging out with friends, catching a show and eating all the wonderfully exotic foods that are so lacking upstate, another thing I was looking forward to doing while here was "walking in my characters' shoes." My novel opens on Wall Street, on a mid-day in September. I hadn't been down to Wall Street in quite a while, and the last time I was there, I certainly wasn't studying it through the eyes of a writer.

So that's where I headed late afternoon yesterday (perish the thought of getting out in time to actually be there at noon, when the lighting and general mood of the place might be more akin to how it would be in my book.) It was probably just as well that I arrived right before sundown, because there were only 25 or so tourists loitering about, as opposed to the usual 200. I was free to whisk between streets, craning my neck and talking to myself. (Yup, that's exactly what I did - I was in full-on eccentric writer mode!)

I'm so glad I made the pilgrimage; while what I currently have written would certainly pass, now that I have sharper visuals of where the opening events take place, I can add heightened color to each moment leading up to the catastrophe that sets my book in motion.

FIGURING IT OUT AS I GO: I often wonder how much artistic license we writers are allowed to give ourselves when it comes to place-setting. There will likely come a time in all our writings when we'll have to rely on diligent research and imagination alone to bring a certain locale to life. However, when visiting the real thing is possible, I strongly urge every writer to do so. There's something extremely inspiring about walking in your characters' footsteps!

Friday, November 20, 2009

Finding Your "Zone"

No, this is not gonna be an adult-themed post, I promise!  I think you fellow-writers know what I'm referring to ... that time/space/mentality (somewhat akin to nirvana) that you somehow reach - when writing becomes pure (or close to pure) joy, as opposed to a loathsome task that depletes your self-esteem.  I believe the key to finding your "zone" is by getting to know yourself as a writer, and this takes trial and error.  

I want to digress for a moment (but this digression will lead back to my main topic) and talk about Nanowrimo.  As you may recall from an earlier post of mine, I credit Nanowrimo with kickstarting my writing "career."  I had been boring my friends to death for over a year saying, "I really want to start a novel."  The problem was, I didn't know how.  I'd had several "false starts" since college ... cracking my knuckles and sitting down to the computer to feverishly tap out 10 or 15 pages, which I would then revise, despise, and promptly dump.  This seemed to be my destiny - to be a mouthy, wannabe-writer with nothing to show for it.  

And then Nanowrimo came into my life ... it revolutionized my way of writing because it went against all my instincts.  "You're telling me I just need to sit down every day and write?  No time to stop and critique, cry and self-flagellate?"  It kinda sounded like a crazy waste of time, because surely all I'd produce under such an intense schedule would be drivel, right?  Well, yes, sort of.  But I also produced some kind of brain chemical (adrenaline, maybe?) that popped me out of bed every morning at 5:30 and powered me through my 2+ hour daily writing frenzy.  By the time I met my 50,000 word goal (the LAST DAY of November), I had gained several things:
  1. 25,000 words-worth of somewhat interesting writing, which would later be developed into my first finished (unpublished) novel;
  2. an amazing work ethic I didn't know I was capable of ... okay, that's not quite true ... I'd just spent 6 miserable weeks (11 hours per day) the previous summer studying for the New York State Bar, so I knew I was capable, but perhaps it taught me that I was capable of diligent work when the deadline was arbitrary; and
  3. confidence in myself.  Shortly into the process, I realized, "Hey, I'm doing it.  I'm actually writing a novel!"
As I continued working on my WIP after the contest ended, I carried the skills and discipline I'd developed during Nanowrimo with me, tweaking them to fit into my normal daily life ('cause, as all you Nano veterans know, there is no way you can keep up that break-neck pace and stay out of a mental institution!)  So now, two years later, I still get up early in the morning (even on days when I'm not going into work) because I know that's when my mind is freshest and most creative.  I no longer hold myself to a word count goal, because my own inner motivation sees to it that I don't slack.  

Bringing us back to today's topic, it's thanks to this "zone" I've created that I can proudly announce the completion of Part 1 (15 chapters, 36,000 words) of my novel rewrite.  The next step is to give it another revision, and then ... gulp ... send it out to my (ever-growing list of) Brilliant Editors for the first big beta!

FIGURING IT OUT AS I GO:  What's your "zone"?  Don't try to force a routine that doesn't work for you, because it'll ultimately end in disaster.  Go easy on yourself if you're having a bad day - give yourself a break and take a day off from writing.  But just remember how good it feels when you get into your rhythm.  So if the bad day becomes a bad week, try to revisit your writing as soon as possible, before a grand funk sets in ...

Thursday, November 12, 2009

When do "suspenseful clues" give way to paint-by-numbers predictability?

I'm currently reading a book by an author who shall remain nameless ... (Can you tell this is leading up to a criticism? I'm trying to keep this blog positive, so I'll only name names with books I love. The cruddy ones will be granted anonymity.) Anyway, this was someone whose books I read during college (before I became a "serious" - and critical - writer.) I always thought she told a good story, so the other day I picked up one of her bestsellers which I'd never read.

As I began reading, I found the how-husband-and-wife-met set-up a little rote, and was not really taking to the protagonist-wife's character, as she didn't seem to have much character, other than being the guy's wife (argh ... I might be coming dangerously close to revealing the book's identity ... well, at least my heart was in the right place!) So I'm reading along, with the suspense around the central issue in the book building, when I come to page 100, where the protagonist's daughter randomly blurts out the fact that she had sex at 13.

Now, all along, the author has been dropping little clues about the protagonist's troubled marriage, like how her husband started to grow distant when their daughter was about 11. There are also lines about how close father and daughter have always been, while the protagonist and her daughter have had trouble relating, especially since the girl became a teenager. These subplots remain in the background, while the suspense around a tragedy involving the husband stays in the foreground.

So there I sat, only one-third of the way through the book, and all of a sudden, I knew exactly what I was going to read in the remaining 200 pages. As the mystery around the husband slowly unravels (thanks to a dashing, doting, divorced man assisting in the investigation), we the readers are going to learn that the protagonist's husband was molesting their daughter. Hence his depression, hence the tragic act on which the novel is centered. Protagonist and Daughter must come to terms with the horror of it all, thanks in no small part to Dashing, Doting, Divorced Man, who will end up becoming a permanent fixture in their lives. The End.

It's a complete cliche. I personally steer clear of pedophilia in my writing because I hate when it's reduced to a "big reveal" climax, which is what I'm afraid is happening here. (Compare this to a book like Toni Morrison's "The Bluest Eye," which treats this horrific subject with the depth and sensitivity it deserves.) But I digress ... this post is not an admonition against putting sex crimes in suspenseful novels. It's an admonition against paint-by-numbers predictability in anything one writes.

I hope it goes without saying that I don't consider myself an expert on avoiding predictability. And in all fairness, while my BEs complimented many of the twists and turns in the first draft of my current WIP, they also pointed out a couple of "I could see that coming"s. So how do we writers skillfully intertwine foreshadowing clues into our narrative without giving away the whole plot? I doubt there's a simple answer, but incorporating reversals into your work is a good start.

I have always been a big fan of reversals (even before I learned they had a name at Gotham.) Here's how I would define a reversal: you have your character(s) going along one path, and maybe the reader can sense by the too-good-to-be-true nature of the storyline that something's about to go awry, but they certainly have no idea what. And then BOOM! You hit your reader with a dramatic (but plausible) change of course. The reversal doesn't necessarily have to be a big "boom" moment - if you're writing a literary, emotion-driven piece, it could be as subtle as an overheard conversation, a letter which was supposed to arrive but didn't, etc. The key is to take your reader in a new direction, one that keeps them turning pages and thinking, "I can't possibly imagine what's going to happen next ... but I'm dying to find out!"

FIGURING IT OUT AS I GO: I think reversals are one of the best "weapons" against monotony and predictability that a writer can arm themselves with. Reversals should be frequently employed, and should vary in size and gravity. Most importantly, they should always be plausible, which is not to be confused with predictable.

Saturday, November 7, 2009

Rewrite Update

I don't have a lot of news at the moment - I just wanted to check-in with my progress on the re-write.  I currently have 25,000 words and am definitely getting back into the flow of my story.  I still have some concerns about my writing style, though.  Because I've been through all this twice before (with my first novel and the original version of my current piece) I am starting to detect distinct patterns in my style.  I'm not sure if this is good or bad.  I mean, I've already identified my writing flaws, but beyond those, even the good stuff seems a bit predictable at times (at least to me).  

A concrete example of this would be the way I structure my chapters.  I try to start with a scene so that the reader is grounded in place and time.  Then I usually lapse into a flashback, which might be a few paragraphs or a few pages long, in order to give the reader a better sense of context of what's going on in the present time.  I'm working hard to cut down on chunks of exposition (my #1 weakness) by replacing them with scene (even in flashbacks).  

I guess the reason I feel that my writing is becoming predictable and formulaic is because I have analyzed it to death in order to continually improve.  I'm just hoping the unsuspecting reader will be too entrenched in the narrative to be as aware as I am of all the thought I put into structure.  I suppose that's every writer's goal - to make their labor-intensive work look effortless!

FIGURING IT OUT AS I GO:  Before I started seriously writing, I never really took the time to think about how much intense planning and scrutiny go into producing a half-decent piece of fiction.  It really is a fine art.  I suppose we writers just have to remember that non-writers reading our manuscripts/books simply want to be engrossed and entertained.  They probably won't care whether this is accomplished through flashback, (well-written) exposition, or whatever other "crutch" we tend to employ.

Sunday, November 1, 2009

Blog-to-Blog: Selling YOURSELF on your book

So here are two more terrific blog posts to get you thinking about your writing (and of course, by "you," I also mean "me" ...)

They both basically deal with the same question, which might be distilled as follows: "What motivates you to write, and is it, at the end of the day, sellable or strictly personal?" I shall answer this question re my own writing in my characteristically tangential, long-winded fashion ... ;-)

As a child, I spent a lot of time writing because I loved to write. As a teen and young adult, I spent a lot of time thinking about becoming a writer for the fame and glory of it. It should be noted that I did not actually write very much amidst all this day-dreaming. When I hit 30, I started thinking more seriously about becoming a writer because of my original love of the craft, and within a year I was actually writing again.

Why did I do so much thinking and so little writing between the ages of about 14 and 30? Well, I could write an entire blog around this subject, but here's a quick word-blitzkrieg: boys, distraction, immaturity, insecurity, identity, education, career, friends, boys ... i.e., the standard rights of passage that one has to go through once they let go of their childhood I-can-be-anything-I-wanna-be-when-I-grow-up outlook. At some point, you realize that you have to take proactive steps to reclaim that sense of possibility if it's ever to be reclaimed.

So back to why I write. When I started to seriously write again, I somehow got it in my head that I was going to be the next Harper Lee. My writing style, however, told a different tale. Literary genius I am not. But I can tell a good story, that much I believe. And that's why I write - I love to give deliciously layered accounts of human interaction. I love the subtle and not so subtle ways in which people please and deceive one another. I don't write graphic sex scenes because I'm not interested in the physical act of sex, but all the manipulation, ruse, vulnerability, fear, lust, hope, etc. that's behind the act. I think these basic truths woven into a well-told story make for a very sellable book. (Mind you, I'm not saying I've "arrived" at this point yet, but this is my aspiration.)

Re the inspiration and personal connection aspect, one little "trick" I've found that not only enthuses me to write, but which hopefully translates successfully onto the page is what I like to call "writing your own extremes." In other words, think about something you would never do, or maybe something you almost did, but sure are glad you didn't follow through with. Reflect on a thought you had at your lowest or highest moment - one that you might be too ashamed to say out loud. And then have your characters live these things out.

As I write this, I'm not harboring any deep, dark secrets that I'm dying to get off my chest and onto a printed page. However, like everyone, I've experienced a whole slew of extreme emotions in my life, most of which faded away as soon as they arose. I must admit that I'm rather curious as to what might happen if someone were to ever act upon those emotions ... I'm hoping Lila, Rosemarie or Marcus will indulge my curiosity!