What I've Learned About My Writing This Year, Unorganized

1) I write best friends who are named Angie. I don't know why, but I seem to have written a lot of them. At least three, perhaps four, without even realizing. Why? *headdesk*

2) I like to write about en plein air marketplaces. This one I know why I like: it's because the depth of description in a marketplace is beautiful. There are smells, sights, different things to touch and do, different kinds of people to see, different tastes that linger in the air. It makes it lovely to write.

3) I have a thing for dragons, but I suppose I already knew that. >_<

4) Writing a children's novel has forced me to learn clarity and, I suppose, intention in writing. I have to constantly be aware of what I'm portraying, what it means that I'm portraying it, and how it's portrayed. I need to make things recognizable. I need to not promote stereotypes, and yet still try not to do the exact opposite of a stereotype just because the stereotype exists. I need to work with legends and make them recognizable without making them stereotypical. And it's hard, but I love it. And I've realized that it's leeched into all of my writing. I'm so much more aware nowadays of what I'm saying when I'm writing something.

5) I like to write scenes with food in them. The most memorable scenes of Redwall are the banquets. One of the reasons I love Poppy Z. Brite is for her use of taste as a sense in her writing. It's fun to make someone's mouth water about what you're writing.

6) The day I don't include a full cast of characters, of every race, gender, sexuality, religion, and ethnicity is the day I die. It's been that way since I first started writing seriously at ten, and it's the one thing I think my ten-year-old self got seriously right. Go, ten-year-old me!

7) I generally write modern-day fantasy. Also known as contemporary fantasy. Urban fantasy, if you can get past the paranormal romance connotation the phrase has gotten lately. And that enables one thing I like to do, perhaps too much: invent the pop culture. Bands, video games, movies, books, slang. It's really fun. I just don't know whether I should watch it or whether it's a good thing.

8) Trickster characters are probably something I should try to do without, because even though I love them, not every single thing I've written needs one. Really. I think. (But I love them so....)

9) Twins. Why do I write so many of them? I don't know. Is it the angst that one can create by making one favored over the other? Is it the twinny bond? Is it the sense that it's two-for-the-price-of-one? Is it the weird fascination I have for making one blonde and one brunette? Is it the fact that legends say they're cursed/powerful/awesome/evil? I've been doing better, but still. I suspect that I will write twins yet again sometime soon, and I will enjoy doing it.

10) Witty dialogue, I think I overuse you. But there's nothing more satisfying than when characters spar verbally. There's nothing more satisfying than a snide comment. This might be why I adore Snape, come to think of it. But when I edit, I always have to cut some of the witty dialogue. Dear characters: I know you're brilliant, but sometimes things are more important than you getting a hit in on your rival. Thanks. Me.

October is Horror Novel Month!

October is one of my favorite months, not least because my birthday comes in it. This has also led to Halloween being my favorite holiday-- I have plans to be Red Riding Hood, modern, as well as watch a scandalously large amount of scary movies and cheesy horror flicks on All Hallow's itself. So there will be a reading list this month that will be epic and awesome! I'll add books, take books away, et cetera, as I get to them, but they'll generally be listed below.

The Books of Blood by Clive Barker
Labyrinths by Jorge Luis Borges
Drawing Blood by Poppy Z. Brite
The Bloody Chamber by Angela Carter
American Gods by Neil Gaiman
Neverwhere by Neil GaimanNight Shift by Steven King
At the Mountains of Madness and Other Tales of Terror by H.P. Lovecraft
The Best of Lovecraft: Bloodcurdling Tales of Horror and the Macabre by H.P. Lovecraft
The Dream Cycle of H.P. Lovecraft: Dreams of Terror and Death by H.P. Lovecraft
Sunshine by Robin McKinley
Project 17 by Stolarz

I shall probably include Coraline and Dracula, provided I can find my copies, and Frankenstein.

Morgana Tremaine, FINISHED

Taking advantage of what I refer to as "the writer's prerogative," also known as "rampant procrastination," I gave myself a two week deadline following the end of August to finish Morgana Tremaine.

And I did.

At midnight on Wednesday (I.E. Tuesday night) I wrote my last few words and squealed, bounced, and considered screaming for joy. I have editing left to do, though not as much as I might have ordinarily, given that I edited some as I worked along, but Morgana Tremaine is finished.

I worked on a tough subject, as discussed in my previous post, but hopefully managed to do it well. Time, editing, and some feedback will tell.

Given the recent scandals regarding gay YA, I'm feeling a little bit of fear for when I want to send it to agents, etc. Not that there are any gay characters in Morgana Tremaine, as it stands, and yet.... The thing is. Well. A few things. So, in the agent's rebuttal, she says that everything in the original post is untrue, and that she wanted to cut all romantic relationships/suggestions/etc. to make it for middle-grade rather than YA. I, personally, don't believe that all hints of romance, crushes, and sexuality should be cut from middle-grade fiction, since they're certainly present in middle-grade life. Outright relationships, perhaps. Rampant sex-talk, perhaps. But sexuality in general? Gah. Sexuality is generally established pretty young, even if the person doesn't know it yet. That being said, one of the characters in Morgana Tremaine is gay. I'm not saying who, yet, and that character isn't even "out" yet in the book. But that character is the one thing that I refuse to back down on. The thought that just because Morgana Tremaine is intended for twelve-year-olds could mean that I would have to cut that character, who is easily one of my favorites.... Well, I think that's one situation where I put my back to the wall and stand my ground. Not to say that whatever editor/agent I hopefully get WILL suggest for me to cut the character out, but I think this is just a situation that a lot of people, including me, are very passionate about. So even the thought makes me angry, frustrated, and sad.

I think I'll stop on that subject here; no point in adding to the conversation, since I think everything that can be said by this point has already been said.

So now I enter editing land, with the hopes of finishing edits by the end of September (hopefully!) and then sending it out. This means it will probably be done by my birthday at the end of October, though if I could have an agent for my birthday, I would probably cry with joy. :)

Ah, life is good, when you've finished your novel.

Depicting Bullying and Prejudice in Fantasy YA Fiction

Yesterday, I edited a good 11000 words of Morgana Tremaine. Today, I wrote a good 3000 and now plan to edit 7000, since I've finished her second case and it needs work.

This case did not turn out the way I wanted it to. I knew that it was going to depict bullying somewhat. Morgana's best friend's homework keeps disappearing-- obviously it was going to show bullying in some manner. But I didn't expect the bullying to come mostly from Morgana's magic teacher rather than the person who actually committed the homework-stealing crime. It's tricky, to say the least. Kid-to-kid bullying is one thing; teacher-to-student bullying is another. Goner can stand up to herself perfectly well with one. She's more hesitant about the other.

Not that I mean to whine about what I have, myself, created. But Goner is the only "normal" girl in a city that is decidedly not normal. The only thing that holds together all of the various mythical races that make up her world is the idea that they can unite against people like Goner. "We are an Us; they are the Other." That means that Goner is a girl entirely out of place in the world she lives in who insists on constantly sticking her nose where it doesn't belong. It makes it difficult to write about her without it seeming like everyone is out to get her.

Goner is strong. She can handle herself in most situations. She is also only twelve years old, and "most" situations can't equate all. But neither can she seem passive-- passivity in the main character is one thing that kills a story. Goner doesn't have it in her to be completely passive. But she does have it in her to seem the victim, whether I want her to or not. I have to combat that. I have to make her tread somewhere between an extremely competent young woman and one who just isn't prepared and shouldn't have to be prepared for certain things. Prejudice is difficult. I didn't set out to handle it. I think I'm doing it well enough so far, but it does occasionally get overwhelming.

Morgana Tremaine is half-finished now.

Gawd.

Characters: They Do Not Always Cooperate

I haven't been updating as much on Morgana Tremaine for Dora Goss' YA Challenge, but that doesn't mean that I haven't been working. I hit a small stall before today, mostly because Morgana hasn't quite been "shining" the way that I want her to in the latest section. She isn't as competent as she was in her first case. That being said, I don't want to show a character who's always competent, never fail. The beauty of Morgana-- or at least, what I view as the beauty of Morgana-- is that she's flawed. She isn't good at school, she's horrible at magic; she makes mistakes. She covers it up with sass and quick wit, but she gets quiet sometimes, and that's okay. I also don't want a character who is cowed at the slightest mention of her failings, though, and therein lies the fact that MORE EDITING must occur.

I have to find balance on a tightrope, which is hard. It's difficult to write a twelve-year-old who is so different from the people around her, yet so much the same. Someone who isn't shaped the same, doesn't have the same abilities or the same family situation, who is more capable in less traditional areas. Because it's so hard, I find it infinitely more interesting than writing I've done previously, and I've done far more work on Morgana as a character than I've ever done on anyone. A disgusting amount of world-building-- yes, that I've done. But a character as complex as Morgana? No, never.

However, today, I had a beautiful breakthrough regarding how her latest case should be dealt with. I knew who did it (whodunit!) and how, but I didn't know how Morgana &. co. needed to figure it out. Now I do. I am pleased. Today has been a good day.

Novel is currently at 12,840 words. I'll probably write another 1000-2000 tonight to get close to finishing up Morgana's current case, and then I need to cut about 500+ words or so of a scene I've realized is irrelevant.

I just realized that I'm calling Morgana "Morgana," and that she would kill me (if she lived) for referring to her by her full name.

I love my pain in the neck novel, and I love my pain in the neck main character. :)

NPR Article on Science Fiction: Response

NPR's Glen Weldon recently talked about science fiction. I had a few issues with it, the biggest of which was that he lumped science fiction, fantasy, and horror together in a way that I would hope hadn't been done since the 80s, but have since learned better. In an article that is intending to promote science fiction, this is a little damaging.

For the most part, I enjoyed his introduction. However, I want to refute his claim that all fiction is speculative. Most mainstream, or so-called "literary" fiction, is intended to be reflective rather than speculative. That's why science fiction/fantasy/horror are called speculative-- because novels of those genre speculate on what could be or might be rather than reflect on what is. Additionally, I don't believe his claim that the term "speculative fiction" is because speculative fiction writers want to "dress up" what they do. It's a lump term, more so than science fiction, since neither fantasy nor horror contains much science. Weldon, however, was perfectly willing to use the lump term science fiction, despite how inaccurate it is. His introduction was a positive one, but undercut by his lack of knowledge about the genres he was discussing. Yes, science fiction, fantasy, and horror can do amazing things. That's why there's no need to "dress it up," and to claim that writers of speculative fiction feel the need to do that undercuts everything those writers are trying to accomplish, and everything Weldon's article is trying to claim.

Without further ado, I give you: Mind-Bending Speculative Fiction For A Fantastical Summer.

Moonheart

I don't normally read high fantasy, so I had some trouble matching my recommendation to Weldon's. The fact that he recommended a second novel in a series frustrated me-- why not recommend the first, or the entire series? This makes no sense! It isn't how recommendations work! Gah. He seems to be choosing new books rather than good books, or even just logical choices, for his list.

I recommend Charles de Lint's Moonheart in return. Definitely not a new book; this classic is from 1984. This book is brilliant and subtle. Don't expect any fast action-- Moonheart moves at it's own pace, but you'll be intrigued all the same. De Lint has a real knack for catching people being people, with all of their prejudices and follies. You won't unequivocally like any of the characters. They make mistakes. They're flawed. But de Lint does something astounding-- he creates whole, fully realized people and puts them in situations where most people could only dream of how they would react. In Moonheart, Sara Kendall and her uncle, Jamie Tams, are dragged into a struggle between the light and dark forces of the universe. At the same time, the police are trying to figure out what's going on, and Sara and Jamie are just trying to survive, not save the world. Pick it up-- you won't be disappointed.


Xenogenesis/Lilith's Brood

One can never go wrong with China Mieville. However, my recommendation is Octavia E. Butler's Xenogenesis trilogy, more recently anthologized as Lilith's Brood. Don't be put off by the horrible cover. This book discusses consent, race, species, gender, sex, biology, relations between women and men, social expectations of relationships, and anything else you could think of, all the while matching this new world our heroine, Lilith, finds herself living in to Eden-- for better, or for worse. A more complicated series of books I can't think of, but neither can I think of one better. You could read these books several times and still not be quite sure of what Butler intended, but enjoy the journey all the same, safe in the knowledge that she knew what she was doing.

The series follows Lilith Iyapo and her family in their encounters with an alien race. The alien race desires to crossbreed with humans to further their own genetic development, and don't require verbal consent for this as long as they can read some kind of consent in the person's mind. Meanwhile, humans who don't agree with the Oankaali hate the humans who do, as well as the cross-species children.


To Say Nothing of the Dog

If you're claiming to represent the genre to a new group of people, choosing authors that aren't yet into their groove probably isn't a good thing. That said, I really want to read The Quantum Thief, which Weldon had in this spot on his list. However, I recommend a more established author, Connie Willis, for a surer bet.

Connie Willis' To Say Nothing of the Dog is a brilliant, witty story of a cat brought through time and how messing with time can have dire consequences. Or, sometimes, not. A mass of timelines confused and twisted about, time lag-- a bit like jet lag, but funnier-- and jokes that sometimes even your first-person narrator doesn't get, this book is a sheer romp in the past. A deeper question is, what if we altered time? Can we? What horrors would we see in our history, what joys? To Say Nothing of the Dog veers on the side of joy; for a more serious read, Willis' Doomsday Book is a sure bet, though I am a little uncomfortable with the lead male character's patronizing of the younger female lead. I haven't read all the way through yet, though, so maybe I'll be pleasantly surprised.


Splatterpunks II

I'm not much of a horror reader, but I was so horrified by the inclusion of Melissa Marr into any recommended reading list that it broke my heart. Melissa Marr's Wicked Lovely series is known for having heavy undertones of rape, and the heroine has her choice between one severely abusive boy and one that's more subtly controlling, yet we're meant to love the more subtle one. I can't say that I've read Graveminder-- maybe it's different, but I doubt it. Melissa Marr talks big about feminism, but doesn't often deliver.

Horror and I enjoy one another more when I read them as short stories. Thus, I recommend the Splatterpunk II anthology. This anthology is largely for women, and all about women. Women take control, women commit horrors on men, and women are just overall pretty badass. Splatterpunk isn't for everyone. It can be a little too splashy and visceral. But if you're going to do horror, go all the way, or don't do it at all. The sheer brilliance of splatterpunk is that it is painfully truthful, showing all the things you never wanted to see and making you enjoy reading about them. And that's amazing.

Little Brother

Here, Weldon recommended 2030: The Real Story of What Happens to America. First, this is not science fiction, fantasy, or horror. It's more like political commentary. If we are looking for near-future science fiction, however, one can go little wrong with Cory Doctorow. Though nearly everything he writes fills this role and is excellent to boot, his YA novel Little Brother was the first I read and a particular favorite of mine. When a terrorist attacks the city, a boy and his geeky group of friends have to save it with Xboxes. Meanwhile, they're facing increasingly strict public policy, having to decide how they rate individual rights, and how far the government should go to protect the country. Also something of a how-to manual for programming, this is an easy-to-read book, despite how horrifying it can be on occasion, and shouldn't be taken lightly.

Morgana Tremaine, +1020

So far at least, I've written 1020 words of Morgana Tremaine. I did some more work on the magic system as well, figuring out various types, hierarchy, limitations, etc. I think I need to edit some right now. Morgana is very... quiet at the moment; not quite her usual boisterous self, and it's bugging me. Of course, something is bugging her, so it makes sense, but Goner is such a vibrant person normally that when she's quiet it makes me sad. Oh well. Editing will let me know whether it's flowing right, regardless of what I think.

1020 / 1000 words written. 102% done!

0 / 3000 words edited. 0% done!