You Know What Happens When You Assume Things…

Assumptions sometimes get a bad rap. A lot of times they make an ass out of you and me, but that’s often only in hindsight. In fact, I’d posit assumptions are essential to living, and, along with that, writing.

After all, an assumption is made based on the information you have on hand or experiences you’ve acquired and can extrapolate from. For example, deciding what to wear based on a glance out the window—I assume I won’t need a rain jacket because the sun is out. Or I assume I can make cream of cauliflower soup because I’ve made cream of broccoli soup in the past.

The assumptions we make are based on our accrued knowledge. So we accrue knowledge to survive, but that doesn’t mean that knowledge is always enough to navigate our world. Mistakes do happen, and that’s actually a good thing for writers.

As people read our stories and novels, they are interpreting our words and trying to make sense of the world we’ve presented them with. To do this, they must make assumptions. For example, if I don’t point out that the sky is green in my story and people get around by walking on their hands, my readers will assume the sky is blue and people walk like normal.

So if on page 30 I suddenly point out that the sky in my world is actually green, that forces the reader to stop and reevaluate what I’ve told them. This can be a bad thing when it throws the reader out of the story. But for some story elements, particularly reveals, this can be a neat trick and make your reader even more invested in figuring out your story as they try to fit the pieces together into a cohesive whole.

"But what does it all mean?"

I like to do this particularly at the opening of a story, where I’m trying to hook a reader’s interest by slowly dealing out world details. Readers will make assumptions based on what is mentioned and/or described, along with what isn’t. And depending on how those details complement one another or how they disrupt one another, my reader will make assumptions about the larger story world that can potentially make the worldbuilding easier on me.

As writers, we should all be relying on a reader’s assumption about genre conventions when crafting our stories except when those conventions interfere with the story we’re writing. In other words, we should be using these assumptions as world building shorthand except when they get in the way. Big deviations, ones that will just cause more confusion than not, however, should probably be addressed as soon as possible so you don’t disorient the reader.

But for me, I like to use reader assumptions and turn them on their head sometimes. As James Killick discusses in Reveals and Revelations,

If you break it down, there are only really two types of revelation that can be made within a story – revelations about the story and revelations about character. The differences should be fairly self-explanatory – a revelation about the story is when something is revealed outside of character – who the murderer is, who is sleeping with the heroine's husband. Character revelation is when something is revealed about character – a hidden trait, an unrealised dream, a hitherto misinterpreted desire.

And both of these (when successful) work because the author has leveraged the reader’s assumptions about the story. The trick is setting them up (which is another post entirely :P).

As readers, we make all kinds of assumptions based on what’s presented to us by the author, as well as unconsciously, based on our own personal and cultural biases. Remember the social media explosion when peoplewere surprised that Rue was black in the movie version of The Hunger Games? That was attributed to a tendency of assumed whiteness where readers assume literary characters are white unless told otherwise. In fact, as The Hunger Games demonstrated, those details stating otherwise can be easily overlooked in a culture of assumed whiteness (and it must be said, poor literacy skills).

So what does that mean for the writer? Well, I think in some ways it’s our duty to engage with these assumptions and draw attention to them by disrupting them in unique ways without sacrificing story. Particularly the more insidious ones related to gender and race and power (and Juliette Wade has a great post on this subject).

But ultimately playing with readers’ assumptions is just another tool in your toolbox. So use it wisely.

Rebuilding Momentum

I’ve been a bit of a slacker lately. At least as far as my blog goes. I haven’t been able to post for the last couple of weeks. In fact this place would be a ghost town if I didn’t have comments from spammers to keep me company. Thanks, guys. Or, umm, bots.

But although the blog may not show it, I’ve been rather busy this last couple of months. Lots of writing going on, and there’s also been an uptick in my critiquing responsibilities. Then I had family in town for Thanksgiving. I basically spent the week before the holiday cooking and cleaning like a madwoman and the week of trying to stay sane. I survived, but just barely.

And now? Now, it’s back to the writing routine and my much-abused blog. I’ll be dusting off the cobwebs so to speak these coming weeks, so please bear with me.

In the meantime, here are some helpful links to help you stay productive:

• Necessary Tasks Doesn’t Mean Productive Ones by the Daring Novelist
• When Bad Things Happen to Productive People from 99u
• 10 Tips for a Productive Writing Day by the Blood Red Pencil
• How to be Productive and Still Get 8 Hours Sleep from Work Awesome
• Adapting your writing routine for the holidays and, in a related way, kids’ summer vacations,  both by Elizabeth Spann Craig

Happy writing, and see you next Wednesday!

Nano Fail

So I’m not doing NaNoWriMo this year. I can hear your collective gasps.

I am very aware of all the benefits to participating in National Novel Writing Month: the motivation to get words down, the camaraderie of knowing you and all your best writing buds are typing away, the assurance that it’s ok if your draft sucks since that’s what first drafts are for.

But the guilt of not making daily quotas and the inevitable burnout that always results from going full tilt don’t appeal to me, especially given the timing for me this year.

Word Count Guilt

For the past two years, I’ve participated in Nano. I’ve never “won,” but logged 20k the first year, closer to 30 the second. And I considered those victories. But the 1,700 words a day wasn’t sustainable. At least for me.

On a good day 2k is about my limit. On a really good day, 3.5k is possible. But that usually means I’m way over-caffeinated, my hand aches from writing so much, and my legs have fallen asleep from sitting so long. Not exactly the balance I seek in my writing life.

After a big writing day, I usually take a break. But during Nano, the pressure to “catch up” takes over. And while it might be good to understand just how far you can push yourself, to motivate you in the future, you eventually have to worry about…

Burnout

We’ve all heard the horror stories, related to Nano and other publishing deadlines. Burnout’s no fun. It can leave your brain a pile of goo and have you questioning your resolve. And as far as I’m concerned, anything that makes you doubt your decision to write is not a good thing.

Plus, with the projects I’m working on, the goals I want to reach with them, I really can’t afford the time off to manage burnout symptoms.  Besides, I believe you should be focused on writing everyday, not just once a year, as outlined in the NaNoWriMo No post from Writer Unboxed. Slow and steady, wins the race… (at least I hope!)

Timing

Despite my (lack of) progress in Nano’s past, I have used November as a good time to jumpstart a new project or restructure an old one. But this fall, I started another project, wrote a skeletal draft, and am now fine-tuning things. The WIP is not in typical Nano shape, and I’m in too deep to consider starting one that is. So the timing just didn’t work out this year. For me.

That doesn’t mean NaNoWriMo isn’t a worthy goal for those of you forging on. But I’m sitting this one out, and hopefully I’ll be able to join in next year!

Happy writing!

How Do You Critique?

The last couple of weeks (and maybe into the next) I’ve been buried in critiques. Hence this slightly delayed post. I’m not complaining, mind you, but the volume recently—the result a confluence of chance—has forced me to evaluate my process in between all my edits, insertions, and comments.

Some observations:

I read everything. For me, critiquing is less about the genre or subject matter and more about supporting the writer behind the project.

I firmly believe there is a level of trust required for exchanging work. And that mutual respect means doing my best to evaluate the work I agree to critique, regardless of what it is, as I would hope others would do for me. It’s too early for me to be trapped in a particular genre, and I’m always eternally grateful that my CPs and trusted readers are usually game to crit whatever I send their way.

Part of this is because I’ve spent a lot of time in non-genre specific writing groups. In fact, one of the more successful groups I’ve been a part of has members writing in completely different genres—poetry, alt lit, women’s fiction, and then there’s me. All of us have good bs detectors and strong writing chops, which definitely helps. Plus having this exposure also keeps me from getting tunnel vision from the particular genre/style I’m writing in.

If a fellow writer thinks they’ll benefit from an honest reader reaction from me, I’m happy to support them. Karma is important, and I know I've benefited from the writer connections I've made. That’s not to say if they hand me a mystery I’ll be thrilled. But I’ll do my best to critique it, with the caveat that I’m not as well-versed in this genre as I am others.

I usually have to read a piece twice before I’m ready to critique.

This is time consuming, yes. That has become abundantly clear these last couple of weeks. BUT, it’s something I’ve made peace with. Mostly because my own standards of quality demand it.

Reading the piece the first time, I’m trying to get a general feel for the story, understand how all the different elements work as a whole. I might make some copy edits in the first round, but really I’m just reading for story.

This is a tremendous help when it comes time to offer my comments on the second pass. That’s when I decide what are real issues that need to be dealt with to support an author’s story intentions. I believe I have to understand the macro story elements into order to comment on the micro-level ones (outside of grammar).

My critique style has evolved as I’ve taken strides with my craft.

What this essentially means is that early on, I was overly focused with style and micro level issues. If someone wrote a line in a way I wouldn’t, I’d offer my suggestions for changing it. I was also overly concerned with "the rules" and more than happy to say "You're doing it wrong!" because the craft books said so. I won't say I was a Craft Nazi, one of the Writerly Types to Avoid, but it took time for me to digest all that advice so I could apply it in more constructive ways.

But after a number of critiques, after reading a variety of work, I’ve been exposed to a lot of different ways of doing things. And I've realized with all the do's and don'ts out there, all that matters is whether a particular technique is effective in a particular story context. That's it.

So I’ve adopted a more flexible live and let live policy. I’ll still point out awkward phrasings or unsuccessful techniques, but I’ve come to realize that just because someone doesn’t write something exactly the way I would doesn’t make it wrong. It just makes it different, and that’s ok. And that frees up more of my mental space for addressing more substantive story issues.

I rarely say no to requests to exchange work, but the time may be nigh to change that.

For so long, I was too scared to share my work. Then, when I got less scared, I had trouble finding people to share it with. I talked about this progression in my post The Critique Mindset a while back.

Over time, I’ve collected a formidable group of trusted writer friends: local writers, online writers, and my writer colleagues from Taos. For every person I can rely on for critiques, they must be able to rely on me. And as the last weeks have shown me, I’m near my limit, if I still want to be producing my own work at a pace that doesn’t make me cranky. (Hint, I'm cranky this week.)

So while I’m a huge proponent for exchanging work for critique, all things in moderation. And maybe it’s time to take my own advice.

***

Happy Nanoing for those participating! Happy writing for the rest of us! And only good thoughts for our friends on the east coast!

Interview with Fantasy Author L. Blankenship

Today, I’m pleased to bring you an interview with L. Blankenship, who is one of my valued critique partners. A graduate of Viable Paradise, L. writes gritty hard fantasy and science fiction. She also blogs for both Unicorn Bell and Science in my Fiction.

She’s celebrating the release of her book Disciple, Part I, which she is self-publishing after a successful Kickstarter campaign.

The saints favor her, else-wise a peasant girl like Kate Carpenter would never be apprenticed to the kingdom’s master healer. But her patron saint also marks her ready for the duty of tending to a mission that must cross the ice-bound mountains. Their little kingdom faces invasion by a vast empire and desperately needs allies; across the snow-filled pass, through the deathly thin air, is a country that’s held off the empire and may be willing to lend an army.

Kate knows about frostbite and the everyday injuries of wilderness travel. She can heal those.

She’s not ready for the attentions of a ne’er-do-well knight and the kingdom’s only prince, though.

And she isn’t ready for the monsters that harry them night and day, picking off their archers first, wearing the party to exhaustion, pushing Kate beyond the limits her healing abilities.

She must keep them alive, or her blood will be on the snow too.

This is part one of a six-part series. Why does the series start here?

The secret mission across the mountains provided a way to introduce my main characters without dropping the readers directly into a very complicated situation. There's a simplicity to being out on the road and away from all the trappings of everyday life – which my characters have a lot of. Having met them in Part I, it's easier for readers to slide into all that information in Part II. There's also the simple and vital boy-meets-girl aspect of Part I, which is always a good place to start story.

What was the most difficult aspect of writing Disciple, Part I?

The romance elements have been difficult. There's a reason people have kept writing about romance for thousands of years. It's a heavily layered thing – everything from careful, left-brain logic to delicate right-brain emotions to bulldozer-subtle hormones. Readers have strong opinions about shoulds and shouldn'ts, and maintaining sympathy with the characters while they make mistakes and argue isn't easy.

Where did the idea for the Disciple series come from?

The idea for the romance in Disciple came from an online conversation about Titanic. Someone asserted that the romance only worked because Rose was upper-class and Jack was lower-class. They further asserted that if those were reversed, Rose would be a gold-digger and Jack would be an asshole slumming for tail. Neither would be a sympathetic character for the audience.

Naturally, I set about devising a romance where the poor girl was not a gold-digger and the rich guy was not an asshole. That's what I set out to write, at least. Along the way, things got more complicated than that because I wanted a very down-to-earth story about real and serious problems. So a war got thrown in the mix, and then magic, and it wasn't just a romance anymore.

What do you see as the advantages to self-publishing this series?

It's an eclectic combination of advantages. It's about having control over my product; I've been a graphic designer and prepress tech for 15 years and I've been involved in small press publishing, so on the technical end of self-publishing, I know what I want to do. I don't need to give a publisher a cut of the profits to do it for me.

It's also about keeping all the rights to this intellectual property I've sunk so much into – when did Titanic come out? 15 years ago? All writers put a vast amount of energy into their stories, and I'm not saying I've done more than anyone else. But the entertainment industry can be quite cutthroat, and there's a long history of starry-eyed artists being taken advantage of. I don't want to be one of those.

What advice do you have for other writers wanting to go the same route?

I wrote a series of posts about self-publishing on the Unicorn Bell blog, and I indexed them here. I'm sure to say more about self-publishing, so stay tuned to my blog.

What has been the most rewarding part of this process?

Fellow bloggers have been so kind getting the word out that I'm overwhelmed. When I was putting Disciple together, I was thrilled every time my artists sent me new sketches. This has been an exciting, yet nerve-wracking, six months since I decided to self-publish!

What’s next for Kate and her companions?

I'd like to take this chance to premiere the back cover blurb for Disciple, Part II: (Yay!)

The prince first kissed Kate Carpenter for fear of missing the chance if they didn’t survive the journey home through the monster-prowled mountains.

Now that kiss seems like a fever dream. It’s back to work for her, back to the fellow physicians jealous of her talents and the sneers of an infirmary director who wants her shipped off to some tiny village. Kate means to be on the front lines to save lives. She’s worked too hard to overcome her past to let them deny her the chance to serve her homeland when the enemy’s army reaches their kingdom.

The grand jousting tournament is a chance to prove she can manage combat wounded, and at the royal Solstice banquet Kate means to prove she isn’t an ignorant peasant girl anymore.

But the prince’s kiss still haunts her. Their paths cross at the joust, at the banquet, and the easy familiarity they earned on the journey home is a welcome escape from their duties. It’s a small slip from chatting to kisses.

Kate knows it’s foolish; he’s doomed to a political marriage. As a knight, he will be on the battleground this spring. The kingdom needs every defender, every physician, focused on the war. The vast and powerful empire is coming to slaughter anyone standing between them and the kingdom’s magical fount.

Kate ought to break both their hearts, for duty’s sake.

Thanks so much, L.!

Be sure to check out L.’s blog and follow her on twitter: @lblankenship_sf.

And remember! Disciple: Part I is available now in print from Amazon and CreateSpace as well as in a variety of ebook formats.

It's wonderful story, full of action and romance in a vividly imagined world. And the best part is, this is just the start of Kate's adventures!
 

Next Big Thing Meme

I was recently tagged by Fran Wilde, a fellow writer and friend I met at Taos Toolbox, to talk about my current Work-in-Progress. Be sure to learn more about her WIP Bone Arrow, Glass Tooth, which I had the privilege of reading part of at the workshop.

1. What is the title of your Work in Progress?

Fireproof

2. Where did the idea come from for the book?

Well, for starters, it wasn’t always a book. It started out as a short story. My response to a particularly bad season of wildfires—one actually got very close to my house. I wondered what it would be like to live under threat of fires all the time, how that would define you as a person and shape your culture. And the idea evolved from there.

Around that time, Wily Writers announced their YA post-apocalyptic theme, and I wanted to submit Fireproof. But I soon realized that wasn’t possible—my short stories are often novels in disguise, and Fireproof was one of them. So I set it aside and wrote Chicken Feet (which was accepted by Wily Writers and later reprinted in The Shining Cities anthology). I then returned to Fireproof with the new goal of fleshing it out as a novel.

3. What genre does your book fall under?

YA Science Fiction

4. Which actors would you choose to play your characters in a movie rendition?

Let’s see if it gets picked up first.

5. What is a one-sentence synopsis of the book?

I hate writing these. How about a paragraph?

Tanwen’s father trained her to be a survivor, but the colony will train her to be a spy. When a rogue collective takes aim at the colony’s water supply, she’s ordered to infiltrate enemy territory. Away from her family and friends, Tanwen must come to terms with all she thought she knew about her life. And when her mission objective changes from recon to sabotage, she’ll learn what’s really worth saving.

6. Will your book be self-published or represented by an agency?

Representation, I hope. One day. Fingers crossed!

7. How long did it take you to write the first draft of the manuscript?

The idea was kicking around in my head Spring/Summer of 2011. Starting in Fall 2011, I started treating it as a novel and had a full draft by late Spring 2012. It’s complete and polished and I’m largely pleased with it, but still making the occasional tweak.

8. What other books would you compare this story to in your genre?

The dreaded comparables question? I think this meme hates me ;)

9. Who or what inspired you to write this book?

See Q2. I also wanted to explore a couple different themes:

• Sacrificing what you want for the good of the community
• How specialized education/skillsets can lock you into unwanted trajectories
• We don’t have to repeat the mistakes of our parents
• Grief and all the different shapes it takes
• And, of course, hope in the future

10. What else about your book might pique the reader’s interest?

The southwestern setting is a huge part of the story, despite its SF trappings. Many elements are rooted in the culture and the people who make the high desert their home—and some things were ripped straight from the headlines. Granted most readers won’t care about all that, but it was important for me to have that extra layer of authenticity.

I also wanted to present a possible, if not probable, apocalyptic scenario because so many other books gloss over what happens in the past. In Fireproof, the connections between what happened and its impact on the resulting society are tightly drawn, showing the messy transition from apocalyptic event to resulting post-apocalyptic society. One of my trusted readers called it a pre-post-apocalyptic story, which is awkward to say, but in some ways accurately captures my intention.

***

Thanks again to Fran Wilde for tagging me!

Cover Reveal and Giveaway for Disciple

Today, I'm happy to celebrate the cover reveal for L. Blankenship's Disciple Part 1- For Want of a Piglet!

A graduate of Viable Paradise, L. writes gritty hard fantasy and science fiction and blogs for both Unicorn Bell and Science in my Fiction.

I've had the good fortune of reading this story just over a year ago, and it's been an amazing to watch the journey from draft to book. And for a lucky entrant, you'll be able to get your hands on an early copy of the book before it releases on November 1, 2012. Just follow the Rafflecopter guidelines below.

About Disciple Part 1 - For Want of a Piglet:

The saints favor her, else-wise a peasant girl like Kate Carpenter would never be apprenticed to the kingdom’s master healer. But her patron saint also marks her ready for the duty of tending to a mission that must cross the ice-bound mountains. Their little kingdom faces invasion by a vast empire and desperately needs allies; across the snow-filled pass, through the deathly thin air, is a country that’s held off the empire and may be willing to lend an army.  

Kate knows about frostbite and the everyday injuries of wilderness travel. She can heal those.

She’s not ready for the attentions of a ne’er-do-well knight and the kingdom’s only prince, though. 

And she isn’t ready for the monsters that harry them night and day, picking off their archers first, wearing the party to exhaustion, pushing Kate beyond the limits her healing abilities. 

She must keep them alive, or her blood will be on the snow too.

***
To learn more about the Disciple series, check out Disciples of the Fount for updates and news about the other books in the series.

Follow the instructions below to enter the giveaway:

a Rafflecopter giveaway