Many thanks to Jenny for a wonderful opportunity to promote Beneath the Deep Wave and another upcoming anthology from Fae Corps Publishing that I’ll be featured in.
Wishing all my fellow Americans a Happy Labor Day tomorrow.
Many thanks to Jenny for a wonderful opportunity to promote Beneath the Deep Wave and another upcoming anthology from Fae Corps Publishing that I’ll be featured in.
Wishing all my fellow Americans a Happy Labor Day tomorrow.
Recycling is something we’ve been told since childhood is vital for protecting our Earth, and I don’t dispute that. Today, however, I want to talk about another kind of recycling, one which may serve writers well, especially if they are suffering writer’s block. This is literary recycling.
And no, I do not mean recycling entire plots or characters. Definitely not. That would be counterproductive. Every writer, in my opinion, ought to strive for something different in every project. Recycling entire plot structures or character arcs would not only be boring for readers but also indicate to them that the writer isn’t showing any growth in their art.
What can you recycle literary wise, then? Scenes, scenarios, passages, anything that will not simply fit during the editing process. This was something I first discovered during my long and checkered history of writing Mystical Greenwood. New scenes were written, and some were altered, characters removed, names changed, etc. All for the sake of pace and telling a better story. That left some passages cut through different drafts, ones which I simply couldn’t fit back into the story. But I liked them. I didn’t want to simply trash them.
Instead, I used some of them as starting points in Beneath the Deep Wave. And you know what? The same thing happened again! Some bits were moved around, and a few would no longer fit within. So I’ve decided to simply use them again, but this time for the third One with Nature book. A few others were also saved for other projects that I thought they would work better in. They simply would require a few tweaks, such as changing names or other factors to accommodate different settings and structures.
It’s a good feeling to not entirely throw out some words you’ve written, especially when it might be possible to fit them into a different puzzle, perhaps even better that what they might have been before. The only other thing I would caution is be careful not to inadvertently use the same plots or plot elements over again. When I first started my pets mystery in college, at some point I realized I was using some similar elements to my fantasy story. I knew I had to make some changes.
Don’t forget that Beneath the Deep Wave is coming out next month! One another announcement: I have reopened my social media accounts on Twitter/X and Tumblr, with the same usernames as before. It wasn’t an easy decision, nor a light one. I remember leaving them for the sake of my mental health, and in the former’s case, it hasn’t had the best reputation, especially since its rebranding. but I am also aware that I did gain followers and readers/reviewers on each. Hopefully, I will be able to use them now wiser than before. So, if you were following me there before, you can do so again. Don’t forget about my other sites as well.
To all my fellow Americans, I hope you had a happy 4th of July yesterday.
A lot has been happening over the last few months. First off, this week I gave a presentation on word and page count for the Maryland Writers’ Association Frederick County chapter. I meant to record it for my YouTube channel. Sadly, I did not. Oh well. Maybe I’ll do that next time I give it.
For those of you who’ve followed me for a while, you may remember me discussing this topic before. For those of you who haven’t, here’s that post:
Kindle and Nook preorder links are now available for Beneath the Deep Wave! The latter is also on Goodreads!
Sally Cronin featured another of my blog posts from last year in her Posts from Your Archives series. Thanks, Sally!
A new poetry anthology is available featuring six of my poems, courtesy of poets Robbie Cheadle and Kaye Lynne Booth, who not only featured me but also allowed me to discuss my experiences with poetry as part of their Treasuring Poetry blog series a year ago. Many thanks to them, and also to Merril D. Smith for featuring a video of me reading one of my poems, which I’d written in college, as part of the anthology’s blog tour.
Check out my Poetry page for purchase links!
It’s a question that all writers get asked at least once, including me. Some writers plan everything out in advance. Others make it up as they go, writing off the seat of their pants. It’s one of those things where writers seem to fall into one of two camps, it seems, similar to print vs. digital books when reading.
There are pros and cons for each method. With plotting, writers know exactly where they are going and able to consistently progress with their outlines, and so the likelihood of writer’s block is much smaller. I imagine that with some genres with plotlines or formulas already laid out, like the hero’s journey, historical fiction, or cozy mysteries, plotting might be easier for some. On the other hand, if the situation should arise where the writer doesn’t like where the story is progressing or even a specific element, starting over is even more difficult. I’ve encountered this feeling whenever I’ve grown dissatisfied with character names and wanted to rename them or other details, and often it feels like the only way I can move forward is to start over.
Being a pantser, in contrast, offers more freedom and flexibility. A story can develop more fluidly and build upon itself like a voyage of discovery. Opportunities for creativity are greater, but, as one would expect, so is the possibility of running into writer’s block. Most people I’ve met have expressed their surprise when they learn I’m not a full-blown plotter, because, as someone on the autism spectrum, I do prefer to plan ahead with many things, and have a preference for patterns and routines, in my life as a means to avoid anxiety. But life doesn’t always work out like that, and I get anxious anyway, so I have tried to not always have patterns, and some have been given up, I’m happy to say, because I’ve learned I don’t always need to have them.
Nevertheless, I’m also aware that even careful planning doesn’t always lead to things working as hoped for. But does that mean I’m a pantser? No, not entirely. Every writer has their preferences. Some see the first draft as their plotting, or seek a middle path, what is called a plantser. So perhaps this is like planting seeds and then watch them grow.
I don’t know if I even fall into that category. It could always change in the future. But I think that just like with print vs. digital books, we shouldn’t simply fall into camps because of what we prefer. Everyone has their preference and should be respected for it. I just write, and I am constantly seeking my own way, which is always evolving.
P.S. Check out the Moonstone Arts Center’s 2023 haiku anthology. It features five of mine! I also changed the site’s theme a few days ago. I hope you like it!
It is a question every writer is asked at some point in their careers: “Where do you get your ideas from?” It’s become a cliché, really. Still, there are others out there suffering from writer’s block who feel their well has gone dry, so to speak. Or perhaps you’re in the middle of an ocean of ideas and don’t know which fish to bait for. Well, I’ll elaborate on some familiar answers, which in my opinion aren’t always suited for every situation.
Write about what you know.
This has been said a lot of times, and it is logical. You’re pretty much guaranteed to do well with ideas you are knowledgeable about. The situations and experiences from your own life can help provide a far more solid base upon which to build a story. Such examples can include professional experiences (Jeremy Lloyd drew on his experiences working in a department store for Are You Being Served?) or places you have visited or lived (Stephen King’s stories are often set in his home state of Maine or in Colorado, where he went on vacation once he was financially able to do so). Then there are personal hobbies and interests, which leads to the next point.
Write about what interests you.
Writing about what you know won’t be enough if passion isn’t in it. It will show in your writing if passion was absent. Interests and hobbies are a great source of ideas because the writer can share those passions through stories and perhaps spark interest in readers. Plus, your passion can compensate because you will compel yourself to drive and learn more about your passions/interests in order to write a better story. Bram Stoker spent seven years writing and developing Dracula, and he never visited Romania, where a good portion of his book his set. He drew on research and his own imagination.
So perhaps in the end, perhaps you need to draw on a combination in order to make a blend. And in my case, certainly, I need to remind myself to not stress over it, which I admit is still hard to do. I must keep hope that ideas will come, especially when I’m not looking for them.
Anyone who’s an ardent Star Wars fan will know of Joseph Campbell’s The Hero with a Thousand Faces and how it influenced George Lucas. He outlines similar steps within what is known as the hero’s journey, which has been found in ancient myths, folktales, and modern fantasy/science-fiction stories. I received my copy one Christmas and poured over it, understanding these points. It’s among my recommended reads for writers! Whilst editing Mystical Greenwood, I tried thinking of the plot I was forming in terms of what Campbell outlined. In the end, I came to see the book as the Departure Phase, which consists of the Call to Adventure, Rejecting the Call, the Threshold Crossing, and the Belly of the Whale.
In my own observations of other fantasy works, I’ve seen two kinds of heroes who receive the Call to Adventure. The first is the protagonist dissatisfied with life and yearning for something more. The other is essentially the opposite, perfectly content. When creating the two brothers at the heart of this story I tried envisioning them as such. But in the end, I had to pick one to be the central hero, and that was Dermot, the one who was dissatisfied with life.
Often the mentor in fantasy is an old wizard with a long beard. Early on, I felt such a mentor at the beginning giving them the Call might be too much of a cliché, so I had that character appearing not until three quarters of the way into the book. The teenage characters instead traveled on their own and chose to do so, though there was a character who did in a way give them the Call to Adventure. But later on, I realized that scenario was not going to work. A mentor figure was needed in order for the hero and his allies to survive and be properly introduced to their world’s magic and their abilities. So that original herald was vastly reworked, evolving into the true initial mentor figure instead of my wizard.
What made me go ahead without risking cliché was that this mentor was going to be a woman. I sought to have her be an embodiment of Mother Nature, who is associated with three stages of womanhood, each of which I gave her attributes: maiden (her face), mother (her personality) and crone (her age/hair). This deviation, if you really want to call it that, shows a story doesn’t need to follow the Hero’s Journey to the letter, such as when Frodo fails the final temptation at the end of The Lord of the Rings. Changes from tradition can make the story stand out and give readers a nice twist.
I hope to continue with the Hero’s Journey in the rest of the One with Nature series, with the next book being the Initiation Phase. This month marks four years since the paperback first came out (April will be the Kindle anniversary). Please read and rate/review if you haven’t yet!
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Back when I did my first blog post, I talked about what I called the “Misery Complex” (in reference to Stephen King’s famous novel), and how writers’ and readers’ wants can clash. Granted, not all fans are crazy and obsessive about authors and fictional characters, like Annie Wilkes, but there is no denying that once a story is out there, it can touch so many people in individual ways in that they feel a special connection. And as they become attached to fictional characters, it’s still important to consider their feelings. Or isn’t it?
I’ve noticed this especially in drama and TV shows, like Downton Abbey and Game of Thrones, with fans theorizing and predicting where the story and subplots will go or could’ve gone, along with characters, and expressing their upset when things don’t happen in a certain way. The latter is especially true when characters die, don’t end up together, or character growth just vanishes. To be fair, with killing characters, writers cannot always be hated and blamed the way they have been, especially in drama, when actors decide they want to leave and pursue other projects. It’s not always easy to explain a character’s absence once the actor leaves. There may not be actors in books, but still, it’s easier to put unwarranted blame on writers.
It’s true not everyone has a happy ending, and sometimes one bad turn can in the end lead to a good one, but is there a line that ought not to be crossed? I certainly cannot argue how upsetting it is when a story seems to building something or someone up only to not lead there at the end. When there’s an anticlimax to anything from a story line to a character arc to a romance, it is usually disappointing. I sometimes find myself imagining (not always in great detail) where things could’ve gone in a story where I felt writing was lazy. That’s what’s lead to a number of fans writing fanfiction.
But at least there’s one point on which writers and readers can agree: stories and characters matter, as does what happens to them. Nevertheless, they originate with the writers. I said in my importance of names presentation characters are the children of an author’s imagination. Well, the same can be said of stories as a whole: an author sires them, and then they venture out into the world. That’s why I firmly feel the author should have the final say in what happens in his or her work, and I’d hope readers would respect that.
But I’m not unfeeling towards readers. After all, writers seek out the opinions of others in beta readers and critique groups while they are developing the story. So yes, readers can have input, and sometimes fans’ suggestions can ignite a spark in the writer’s imagination when they can’t figure out where to take the story next (even if it isn’t what readers specifically want), especially within a series. So, in conclusion, they both matter. Readers’ opinions should be considered, but the final decision belongs to the writer alone.
P.S. I want to apologize for the inconvenience for those who saw this post in advance a few days ago. I meant to schedule it at a different time and clicked the wrong button. This was not intentional, but given the post’s subject matter, I can’t help but feel the irony. Happy Holidays!
Many thanks to historical novelist Anne Clare for this opportunity to discuss my feelings on using historical fiction to shed light on lesser known events in history!
Guest Post By Andrew McDowell: Dusting Off Stories From History
These are feelings I hope to follow when I venture into historical fiction someday!
Anyone who has watched Dead Poets Society remembers the viewpoint Robin Williams’s character John Keating gave regarding poetry, and how it cannot be measured. It was a very touching scene, and so I thought I’d talk about my own experiences with poetry, this being National Poetry Month.
I first began writing poetry when I was a teenager. Back then, one could say I was rather rigid. I didn’t experiment a whole lot, typically using a simple rhyme scheme, unless of course if I was writing a sonnet. I would write sonnets because I was (and still am) a huge fan of Shakespeare. I had even recited Sonnet XVIII (Shall I compare thee to a summer’s day?) at a Poetry Out Loud contest in high school, in which I won third place. But then again, I was rigid there too, because I’d only written sonnets in the Shakespearean format. In a way, looking back, perhaps I was afraid of breaking into new ground.
My rigidness continued for a while at St. Mary’s College of Maryland, where I was introduced at a poetry club reading by the club leader as a more traditional poet compared to other members. The professor of an advanced poetry workshop class later made the observation that I liked to express a theme or idea at the end of each of my poems. However, it was through both that class and another poetry class at St. Mary’s that I began to break free and experiment with poetry.
I discovered new different forms that I had to write in as part of my assignments in those classes. More importantly, over the years I’ve broken free of form alone and began to not worry about syllables and rhymes. I’ve realized how poetry provides a way to really experiment with words and phrases, more so perhaps than fiction. I continued to express themes in my poetry, but also turned to showing and portraying emotions and feelings.
Among the blogs I follow are poets who use their sites to share their work, which is amazingly diverse and wonderfully done. I myself read three poems during an open mic at the Annapolis Chapter of the MWA:
Here’s another reading I did online for The And I Thought Ladies:
And another at the Annapolis MWA:
Poetry expresses what’s in the heart and mind. For any poet, and every writer, their work evolves over time, and through experimentation, gets better.
Check out this guest post I did for the Go Dog Go Cafe! Many thanks to Stephen and his associates for this opportunity!
Writers must read and conduct research to build their stories. No matter the genre, writers need to build plot and characters to create something that will appeal to readers, and there are many books offering tips and insights into these elements. I will discuss those titles I have listed for my own recommended resources and why I think they’re helpful.
Joseph Campbell’s The Hero with a Thousand Faces is one of the most well-known and influential books in the world. It draws upon many myths, identifying common characteristics and story elements to form what we know as the hero’s journey. Perhaps one of the most famous examples of Campbell’s influence is with George Lucas when he created Star Wars. There’s a reason why this book is helpful to writers: the hero’s journey appeals to people. It’s been depicted in many different ways, and stories do deviate at certain points (Frodo…
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