Gushing Love Post

It's 2010 and I'm in love all over again. A mad crush, a divine calling to destiny, whatever you want to call it.

It's writing that I can't give up or deny myself. It's reading that spurs me on and sparks my imagination. And what's reading without the writing? If one didn't happen, the other wouldn't exist, and vice versa.

Okay, I'm actually in the thick of re-researching agents (yes, I meant that) and writing query letters. One might think it would be easy to lose inspiration at this point in the writing process, but I'm energized. It's part of the process and like Bill Murray so aptly said, "Baby steps!"

Luckily, there are plenty of online resources for writing queries that make it simultaneously easier and more confusing. Just research until you find the agents you are interested in and send them only what they ask for and nothing more.

Also, here's a good list to follow at Writer's Digest. It's from 2008, but still pretty good advice to keep in mind.

So Happy New Year everyone and stay in love with your writing, even it means baby steps to your goal. Or as Churchill is reported to have said, "Never, never, never, never give up."

Writing: Addiction, Discipline, or Balance?

Yesterday, wonder agent and master blogger Nathan Bransford asked, "When does writing become unhealthy?" http://bit.ly/16qCdI

This is such a great question which can and should be used in many other circumstances (when does social media/email/drinking coffee become unhealthy?). But sticking to the writing, do any of you have a problem with balancing your life because of too much writing? For me it's a constant battle to get enough time to write. His question may apply most to workaholics, sociopaths, and people with addictive behavior issues. I am not one of those people, though I may have had tendencies in all three categories at one time or another.

Part of me still believes that you have to choose between your creative genius attaining success (which somehow ruins your relationships) and the mediocre creative life with modest or no recognition because you strive to balance your personal life. The rational me disagrees, because there are too many factors that go into success, and ruining your relationships doesn't exactly guarantee getting a book deal, unless your book is about how you ruined your relationship so you could get a book deal, THEN you might have some real takers.

Ultimately, logic applies. If you are getting ill from lack of sleep because you are writing: you're writing too much. If your relationships are suffering because of your writing, you need to make some choices (spouses and children are responsibilities, not electives). If the dog isn't getting enough exercise because of your writing: get out of the chair and do some character brainstorming while you take the dog for a walk! If the kids are complaining that you only spend time with keyboard, then turn off the computer for an hour and help them with homework, read them a book, or play a game.

Writing is an amazing part of my life, but it does not rule my life. I'm here for the whole experience, not just the deranged artist bit. Whether I end up a successful author or not is secondary to achieving a happy and satisfying life. What about you?

Creating Language

Anyone who knows me knows how much I love language. Not just English, but any and all language. People like to imagine language (especially their language) is static, unmoving, and dependable. So dependable you can put it down in a book called a dictionary and it WILL NEVER CHANGE. I love it that this is so WRONG.

Language doesn't stop or even slow down; it's constantly evolving. We're closing in on 7000 spoken languages in the world today, and that's just the documented ones. What I really love, though, are the microcosms of language. Dialects are fun, but we really get into the nitty gritty when we reach slang; new words with old meaning and old words with new meaning. Words that make it to slang dictionaries are certainly the ones that had the best publicity (like movies, songs, or books), but there are so many more words created every day that don't make it past their birthplace.

My favorite language-creation situations are: 1) Family speak; which also applies to tight-knit groups of teens, ska (Sometimes Known As) gangs (NOT ska gangs, which could be cool) 2) Cross-cultural language creation; arises from being immersed in another language and struggling your way to understanding and 3) Mis-hearing what was said and either intentionally or unintentionally creating something intelligible though not necessarily understandable; aka acrylogia, Dogberryism (from Much Ado About Nothing), and malapropism (who could forget Mrs. Malaprop from The Rivals?)

I have to admit, in order to maintain a sense of humor with my kids, I intentionally create new word formations and phrases from what they said unintelligibly and say it back to them. The seven year old yells, "He's pulling my hair!" and it becomes, "What? Peas & pudding on the stairs?" It stops me from over-reacting and keeps them laughing.

The author/musician Frank Portman has done something wonderful with his character Andromeda Klein (from the eponymous novel) who mishears what people say all the time. What she first hears is often a stroke of brilliance compared to what she eventually deciphers into the mundane (packing up Sylvester Mouse was really picking up some extra hours). A great device that renders the situation comical and the character endearing.

Language creation (words, expressions, metaphors, analogies, etc) is one of the thrills of writing. Heck, it's one of the thrills of living as far as I can tell. Let's keep our ears open and find some more fun. Oh, by the way, there's a great website dedicated to misheard lyrics and a few other permutations @ http://www.amiright.com/.
Cheers.

When inpsiration strikes

So a few nights ago, after a long day with two kids, many errands, cooking and probably a few loads of laundry, I got in bed, turned out the lights, kissed my man, and said goodnight. That's it, right? For him, yeah. He was snoozin' in no time. Me? My eyes were wide open, my mind was still wide awake and not in the mood for shutting down. This was 1:30am. I'm a morning person and this does NOT happen that often, but when it happens, I have to grab the bull by the horns.
It was time to write, and being summer, the office was warm enough to do it. Give me this scene in December, and I'm reaching for the novel and booklight, so I don't freeze my bum off by exiting Duvetland. Wuss, yes, I know. That's what happens when you move from the 'Kick your ass' weather zone to the sissyfied weather zone (where I currently reside and love it, love it, love it-- I can drive an hour to the mountains if I miss the mosquitos or snow).
What I'm trying to say is, strike when the iron is hot. Get out of bed, and get writing. Especially if you have kids and a day job. Every minute counts and every word counts, so get it down, and sleep hard. Believe me, after writing through a tough chapter (even with three kid interruptions--guess I wasn't the only one that couldn't sleep) I was ready to sleep at four in the morning...all the way to eight.

Critique group guidelines

If you're a writer, being a member of a critique group is indispensable. Critique groups range from formal to casual and it's best to join or create one that suits your personality. In fact, to maintain the tone and success of a critique group, it's not a bad idea to have a few rules. What follows are a few suggestions.

You may want to have a confidentiality agreement for all members. Note: this may seem a bit paranoid, but some people swear by it. It is merely a measure to discourage plagiarism and keep people honest. Take it or leave it.

It's not a bad idea to ensure that members of your group are at similar levels of skill and commitment. One way of doing this is by having membership requirements, whether that's obligatory membership to a recognized writer's association or the completion of writing classes beyond high school. You may want to limit the number of members in the group. Other things that may fall into this category are: minimum attendance, output, and feedback at meetings.

You may want to have manuscript requirements. Examples include genre restriction, numbering of pages, minimum or maximum number of pages submitted, requiring manuscripts to have been proofread for basic spelling and grammar errors before submission. Some of these suggestions may sound a bit uptight but are all ways to get writers accustomed to doing what must be done for submitting a manuscript to an agent or editor anyway. It is just one of the ways critique groups can shape you into a better writer.

Other rules that often go into a critique group involve the critique process itself. Consider submitting by email in advance to give others a chance to review material before giving comments in person. Do you want only one person to present material or everyone? I have found that 3-4 people can reasonably present new material (read ahead of time by the others) and get feedback within a 2 hour meeting if there isn't too much chit-chat or snacking. Add half an hour to an hour if you meet at a pub. Do you want to read submissions out loud? This may be helpful for difficult passages. Make sure members write comments on the manuscripts they've printed out and critiqued. Don't interrupt the person giving comments. Wait your turn, and, if you're the author, be careful not to be argumentative or too defensive of your baby. You'll hear this many times, but if you hear a specific criticism more than twice, PAY ATTENTION!

Above all, as a member of a critique group, remember that criticism should be given with the goal of helping the writer improve the telling of the story. Do so with a generous spirit. As an author, remember not to take criticism personally. You should be able to take harsh criticism as well. If you are easily discouraged and want to quit writing, you probably should. This path is not for the faint of heart.

10 Hints for successfully being in a Critique Group

I'm not sure what made me pick critique groups as a topic today, but there you go. It's a topic that will never go away (for creative types, that is) and there's always more to learn about them. I won't get all pedantic on you, though. I'll just mention a few things that have made critique situations work for me.

Hint 1.Join a critique group. It's good experience. We all need experience. Even if it's not the best match right away. Why? Because you need the experiences of: having your material read and receiving criticism and reading other people's material and giving criticism. Think of it as a class with a test every time you meet, not a popularity contest.

Hint 2. Leave your ego at the door. Humility not hubris. Remember your goal of making your story the best that it can be. Be open to what people are saying, not defensive (this is difficult).

Hint 3. Don't hog the floor time. Be gracious and fair. Succinct. Concise. Got it?

Hint 4. Do your homework. Give your fellow writers (and their manuscripts) the respect they deserve. Don't leave reading until the last minute with half-hearted comments. This is also a difficult one. We all have busy lives but it is possible to make time. How committed are you to your dream? This is serious. Give it your all because you expect your peers to.

Hint 5. Mind your manners. That's right. I shouldn't have to say it, but sometimes people get whipped into a frenzy and forget. Be nice. Golden Rule and all that.

Hint 6. Show up. Yep, I know. Another obvious one, but apparently it's needed. If you are part of a critique group and you have a scheduled meeting, but nothing to show or share, go anyway. Give your feedback, be committed to the success of the group. If you absolutely can't make it, it's understandable, but don't expect everyone to change their schedules to suit yours. Doesn't hurt to ask, though.

Hint 7. Neutral territory or rotating hosting is recommended. Fairly self-explanatory, but I'll spell it out. Always meeting at one person's home may have the psychological effect of 'critique group ownership' real and/or perceived. It gets tricky once that sets in.

Hint 8. Don't let your group turn into a social gathering. I know this sounds uptight, so don't take it too literally. Be professional, do your business first, then pleasure, that's all. I know people that lament the fact that they're in a group with great people, but nothing gets accomplished. Remember why you are in a group and if you don't know why, then figure it out fast.

Hint 9. Remember that the people in the group don't have to be your friends or confidants. It's okay to maintain a professional distance. In fact, it's a really good idea, at least until you are well established in the group.

Hint 10. Leave the group when it's the right time. This is a hard one to see sometimes. I'm not saying that you will always have to leave a group, but it's very difficult to have a group of creative types together over long periods of time with out personal dynamics getting in the way. Don't have unrealistic expectations. Also, needs, minds, and goals change. Listen to your intuition and get on with it. Yes, you'll find (or create) a group (or partnership) that works better for you.

Well, that pretty much covers some of the more pressing issues about critique groups. Next time I'll put out some great ideas for critique group rules. Enjoy the weekend wherever you are.