Hold This, I Feel A Chapter Coming On

or the perils and upsides of writing in public.

Normally writing is a solitary thing.  Well, for lucky other people it is, I’ve heard.  Being the mommy at my own particular digs has always meant some amount – large or small – of intrusion upon my writing time.  More when the kids were little, of course.  My first published short story was written with Robert in a snuggli attached to my front.  (He was only a week and change.)  My first published novel was written with Marshall playing with legos at my feet and during the hours Robert was in school.

Now I have less intrusion, but more unexpected, sporadic and downright weird intrusion.  You see, I made a mistake.  I gave them the AIM handle only my husband and the two friends who only contact me if something just caught fire know.  It seemed like SUCH a good idea.  That way they could tell me stuff without coming into my office.  Not that this stops them coming to my office, too.  And since one of them is a writer, and the other is a writer-in-denial, the interruptions can be downright odd.  “Mom, can pterodactyls be canonized?”  Or “I have this character in my head and it won’t shut up.”  Or “Did you and Robert misplace a story?  Because I feel like writing this one, where…”   As you can guess all the above don’t merit more than a glance and a “write it” but still I’m not exactly in a state of solitude.

But it is solitary in one sense.  No one is in my head.  Well, no one who exists in this world.

My first attempt at getting a novel critiqued involved taking a chapter at a time to a writers’ group.  It was a huge mistake.  That very first novel ended up being something like 600k words, most of them useless, because people kept saying “but I don’t understand this” and – like a sap – I explained.  Since I was “performing” in front of a non-spec fic group, I had to explain a ton of things, like how someone got healed magically how power was transferred – in DETAIL.  I also had to explain butter-lamp.  (Look, ya’ll, oil lamp, butter lamp… It’s all grease to me.)

I didn’t get from that what I SHOULD have which was that the main reason it doesn’t work is that people forget, from one week to the next, some detail, that they’re then asking you to explain, though it’s already in the novel.  I didn’t get that, because that particular novel and that particular group had a lot of other things for people to stumble over.  (This was the group where someone AFTER the meeting and in private – always a sign of trouble, btw – told me I’d never be published.  Ah, ah.  Good thing she doesn’t write science fiction, uh?)

I got that effect with Darkship Thieves, where I workshoped the first half of the first draft and effectively killed it, which led to the rule that we would not give novels out a chapter at a time.

But I don’t learn quickly or easily.  It could be argued I never learn at all.  So, when I was writing my first Austen fanfic, shortly after, I started listening to comments.

Okay, part of this was predictable.  I started writing Austen fanfic because I needed the feeling someone, somewhere was reading my stuff.  I’d had a rough year with tons of rejections (though I sold two shorts) and was starting to feel no one would ever buy my novels.  The enticement to go to Austen and write for free was that I got comments.  I’m not even joking that during some of the darkest times in my career I lived for those “I love this.”  Which I realize is very sad, but there it is.

Unfortunately on my very first work, I was trying to please everyone.  So if someone came in and said “I hope that they meet in the next chapter” I did that.  And when people questioned my history, I tried to explain it in the next chapter.  And… yeah, I ended up with soup.  Not good soup, either.  Kind of what you get when you throw in everything you can get your hands on in the kitchen, including the dishrag and the dish soap.  NOT a coherent narrative at all.

So, you’ll ask, why on Earth am I doing a novel in the public eye?

Well, it goes something like this:

1 – Although the comments will not make me change the story as I write it – and it is already plotted, though undeniably it will twist in my head as I write it. – they will give me clues to when I’m “hitting the right notes.”  Like, if you tell me you laughed at a line, or cried at one…  It will help me get a feel for “that works” and “that doesn’t.”  This will eventually not only communicate itself to the rewrite/edit before it comes out as a cogent book, but it will also teach me “how to do it better” for the next book and the next.  This is invaluable.  Writing is after all a way of communicating and most of us work in too much isolation from the reader.  I’ve told you in the past that writing a successful story is like playing both sides of the chess match.  You have to tell a story you know from the inside in a way an outsider gets it.  This helps me understand how it’s coming across.

1a) Supposing I get a wide enough audience – I don’t know, and I suspect I’ll need ten or so chapters up, to start “hooking” (I will put links forward and back in each, of course) – I can also start to learn “How to sell to the public.”  As I’ve explained before, us pros used to have to sell to editors before the public got it, so we have no clue WHAT the public wants.  And the public has no clue what we can do if not pulled about by publishers.  This is a first attempt at starting to fix that, where I’m concerned.

2- Moral support.  Or immoral, as the case may be, since Kate Paulk might drop by now and then (and truly, what is the com com at Capclave on?  They put this woman as moderator on a panel entitled Paranormal Romance, innies vs. outies.  Are they suicidal?  Or criminally insane?  Someone who is near it, please go watch and take pictures.  PLEASE?)  Again, writing is a solitary endeavor, but meant as communication.  It gets lonely in that office sometimes, St. Pterodactyl not withstanding.  Just knowing someone is waiting for the next chapter can cheer one up.  As do the “blank” type of comments that have no content beyond “love it, give me more.”  Knowing other people DO love it, really help.

And stop staring at me and going, “But Sarah, you’ve sold 21 books.  Why don’t you read your Amazon reviews for that?”  Because I always believe the p*ssy “this sucks” review.  Even if it’s the only one and written with metaphorical crayon on butcher paper. In words four letters long.  So, am I begging for “I love this” comments?  Not exactly, but I’m hoping I get some, because they’re always a major boost.

3 – Battle space preparation.  In politics this usually involves smearing your opponent before they can smear you or preferably before they’re announced.
One of the things I’ve noticed is that in the “new writing marketplace” tm it helps to have some people who’ve already read the book and can post reviews.  It also helps to start word of mouth early.  I’m hoping this does both and starts, as it were, an advance team, so that when the book hits Amazon and smashwords, there are a few hundred people who’ve read it (and hopefully enjoyed it.)  I know that when I post snippets in the diner at Baen’s bar it helps (and someone remind me to start DSR and A Few Good Men going there next week, ‘mkay?)

4 – This is something you’ve asked for.  (Okay, not you in particular, there in the back row… are you braiding your hair?  Oh.  Tentacles?  Never mind.)  I.e. some of my readers have at various times asked for more insight into how I work.  What does a first draft look like?  What do edits look like?  Etc.  Well, I’m not going to give you blow-by-blow edits, but you get to see what first draft looks like and if you get the final version, you also get to see what happened in between.  Part of me goes “but why do they want that?” On the other hand, I’d buy Terry Pratchett’s laundry list and Heinlein’s grocery list, or vice versa, if offered, so who am I to say anything?  Let someone else cast the first fireball, I am not without sin.

And that, dear sirs, ma’ams and Sainted Pterodactyls is a faithful accounting of my intentions in running this experiment.

Witchfinder — Free novel — One

Witchfinder cover

UPDATE:  A SLIGHTLY EDITED AND PRETTIED UP COMPILATION OF ALL CHAPTERS UP TO A WEEK OLD IS HERE

*I’m going to start posting a novel here, a chapter a week. This is being posted as I write it, so it’s in pre-earc (for those from Baen) or in close-to (but not quite) -first draft state. Once it’s finished it will undergo editing and then it will be published in some form. I’m going to put this up with its own category so you can find it. And yes,there is a donate button on the side of the blog, to your right– those who donate $6  WILL get this, revised, when it comes out. I’m also going to have another cover for this soonish. Until then, bear with me. Yes, those of you who are in Baen Diner have seen two chapters of this before. The difference is, this time I finish it “in public” which is a bit of a window to you on how things work out. Oh, yeah, this is a fantasy set in the same universe as the Magical British Empire, but not in the same world (at least to begin with.) And it uses a Scarlet Pimpernel archetype, which I ALWAYS wanted to do.*

UPDATE: Welcome Instapundit readers.  Yes, this is a serialized novel.  No, it’s not quite final and depending on the day you will find a few typos.  If you wish to come back, I’ll post a chapter every day on Friday (except this week when I thought Thursday was Friday.  I was in Writer Time or something.  Two things before I get out of your way and let you read 1)Yes, the cover is horrible.  It’s a place holder while I find or draw a better one.  2)donations aren’t necessary, I’ll continue the story whether or not the writer’s bowl is full, but they are (needless to say) appreciated, since baby needs med school books.  (And shoes.  Size 16 shoes!)  Oh, a third thing (Nobody expects the writer inquisition) the novel is sort of what would happen if Heyer fell into Diana Wynne Jones at meteoric impact force.

Witchfinder

Sarah A. Hoyt

Flash And Fire

Seraphim knew it had all gone wrong as soon as he emerged from the mage-portal.

He hadn’t been sure where the alarm had sent him, but he knew it had indicated several children in distress. And that meant there had to be a world on the other end.

There was no world. Only the grey, empty nothingness that mages called Betweener.

For a moment, in a panic, he wondered if he’d done something wrong, if perhaps his casting and his spelling had gone wrong, if he’d lost himself through his own stupidity.

His heart beating painfully in his chest, his throat dry, he tried to go over in his mind the coordinates the alarm had shown, the coordinates of his spells and his foreseeing and casting of parameters.

Three children. In danger of death. And it was supposed to be 185 by 240 by… No, he’d done that.

His lungs were going to burst. The Betweener looked like a foggy morning, the fog so dense and white you saw nothing behind it. But it didn’t contain much that you could breathe. Stay there many minutes and you died.

As his brain grew cloudy, he tried to reach for his coordinates again and cast his spell. 185 by 240, by…

There was nothing there he could grasp at to open the gate forward. But the gate back was not completely closed. He’d go home and regroup.

He reached back and tried to open the mostly closed portal that had brought him here. Magic was never two-way, and going back was harder than coming here.

He had to use his whole will-power, his whole concentration, and his head was starting to pound with a headache that told him he didn’t have enough oxygen.

By the powers he thought. This was a trap. It was always a trap. Those coordinates were never reachable.

And then the portal behind sprang open.

At that moment, as though called by that magic, a dagger appeared out of the blind fog. Seraphim spun. It should have hit his heart, but instead, it buried itself in his shoulder. As he struggled to keep the portal open and dispel the dagger, it cut a vicious path down his body.

He shoved through the portal, then commanded the dagger to drop.

Standing in his dressing room, his grace Seraphim Ainsling, Duke of Darkwater, realized that his suit was not only torn, so was his body. Blood was seeping through the superfine cloth, dripping from his hand onto the floor.

And he was late for his own engagement party.
His Grace

Chapter One

If anyone were looking closely at the gentleman as he approached the double doors of the ballroom, they would have noticed he held himself somewhat stiffly. Not as though he were injured or embarrassed, but more as though he were excessively careful of all his movements.

The two uniformed footmen exchanged a look before opening the doors. His grace, the look said, had clearly been out drinking. Which explained his being so late to the ball.

Neither of them would have dared say it was just like His Grace, and – if it came to that – a lot like His Grace’s deceased father, but it was plain that they both thought it.

As his Grace, Seraphim Ainsling, Duke of Darkwater paused in the doorway, in the full glare of the brilliant magelights positioned all around the walls, all eyes turned his way.

This was not because of the exquisite tailoring of his green evening attire, that showed off his muscular body to great advantage, or his commanding height and stately bearing. That he was possibly the handsomest man in the room, with his thick, raven black hair, aquiline features, and dazzling emerald eyes, was a part of it, as well as the fact that he was His Grace, Seraphim Ainsling, Duke of Darkwater, one of the oldest and most prestigious magical houses in the kingdom, not to say in the world.

No. The real reason his entrance gained the attention of all in the room was because this party was being held in his honour, and he was unfashionably late. His mother had almost given up all hope of his appearance, as had his betrothed, Lady Honoria Blythe.

The betrothal had as yet to be formalized but everyone present expected the announcement to be made sometime approaching midnight. Whispers that he planned to cry off had already traversed the room.

After a pause that was so silent it was almost as if the orchestra had stopped playing – which it certainly hadn’t — the conversation and dancing resumed.

Darkwater walked into the room, still moving with exaggerated care, reached for a glass from a tray held high by a passing footman, and tossed the champagne back in one swift move.

From across the room, his mother saw it and flinched. The Dowager Duchess of Darkwater was a petite woman. Her mother had been French, and Lady Barbara showed it in her small oval face, her dark eyes, her clearly marked, arched eyebrows, and in a certain air which showed a quick temper, quickly tamped down.

She approached her errant son, maintaining every appearance of outward calm, even if her gaze couldn’t help but reproach his lateness and his state.

“Really Seraphim!” she said as soon as she could be sure of not being heard by other people. “After I have gone to such trouble putting on this ball for you, the least you could do is arrive in a timely manner. Dearest Honoria has withstood it all without a crack in her perfect demeanour, but I have been ready to faint from anxiety.”

Darkwater glanced across the room to where Lady Honoria stood, the picture of poise and elegance. She smiled at him, a calm smile that showed no emotion at all, neither anger nor relief, neither disdain nor caring. He sent her a stilted bow and a smile that gave as little away as her own. “She is to be commended for her good sense,” he replied. “And you, Mama, are to be commended for not fainting. That would have set the tabbies’ tongues wagging.”

His mother clutched his arm and he winced and reeled a little, as though the force of her small hand clasping his sleeve were enough to unsettle his carefully guarded poise. “Seraphim – tell me you are happy with this match. If you are not, you should not go through with it. There is time to back out now, without injuring Honoria or the Darkwater pride.”

“Back out?” he asked as he stepped away from her. “Why should I want to do that?”

“Because you are not in love with her. I have always wanted a love match for you, not to see you give yourself up to increase the family fortune. Our magic is still strong, and with your brother’s new inventions, our fortunes will rally.”

“Father expected otherwise,” said Darkwater curtly. “An alliance between Ainsling’s Arcana and Blythe Blessings was the old Duke’s greatest dream.” He reached for a sparkling crystal glass from another passing tray. “Love is a fairy story, at any rate.”

“So instead you drink yourself blind?” asked his mother. “You are making a good job of hiding it, but I can see you are unsteady on your feet.”

“Hardly, Mother. Please do not fret.” Almost reeling, he managed to visibly exert utmost control upon his rebellious body, bowed politely to his mother, and turned to cross the room. “If you will excuse me, I believe Honoria is entitled to at least one dance with me.”

Seeing him bow to Honoria and offer his hand to be enveloped in her cool, gloved little one, his mother could but clench her two hands together. What she had endured from her husband – his careless disregard for her and her position – only she knew. She had exerted her discretion, her pride, the very last shreds of the love that had once drawn her into an unadvisable marriage, to keep her husband’s missteps secret.

His debts at the gaming tables, she’d covered without a word, his frequent inebriation, she’d hid by talking of his “complaint”, his mistresses he’d paid off, his byblows, she’d taken care to set in the way of good positions, his children she’d borne without complaint.

And all that time, her one consolation had been that neither Seraphim, nor his ten-year younger brother, Michael, nor even her single surviving daughter, Caroline, Michael’s twin, showed the slightest tendency to imitate their father. Michael was perhaps the steadiest of them all – his mind given very early over to the perfecting of magic and the creation of magical engines to improve daily life.

But Seraphim, though a rather more spirited boy, forever climbing trees and riding out on horses that were too impetuous for any other rider, had shown early enough a tendency to assume responsibility for the family, and to respect the worth and importance of his title and position.

Only in the last ten years, it had all fallen apart. Rumors of his wild gaming and wenching, his uphazard living, his pride in his riding and shooting prowess – a prowess no one else could see a shred of – had reached even the ears of his mother.

No one had asked her to settle his debts. Yet. No one had laughed openly about his mistaken pride in his physical abilities. Yet. No light skirt or edge born baby had sought her protection. Yet.

But in that ballroom, watching her son hold himself too stiffly and carefully, Lady Barbara Ainsling, Dowager Duchess of Darkwater felt much like syssiphus, who, having pushed the rock up the slope sees it rolling back again.

Seraphim, his early character not withstanding, was turning into a copy of his father.

For the next chapter look here

Because you can’t POSSIBLY be riveted

by my disjointed bits of memory. And because I’ve been looking for a place to post this. If you aren’t reading Ninja Nun, my older son’s effort, consider it. And, oh, hey, he has a donation button. I’ll eventually put one up, when he teaches me how but until then well, anything you feel inclined to give him will be used to defray the expenses of his attending pre-med. We’re hoping it will eventually add up to books. (Unless you’ve had to buy them, you really won’t believe what college books cost.)

http://www.robertahoyt.com/comics.html

And if you think you might enjoy Jane Austen Fanfic — with the caveat that when Sofie and I wrote this we did play up the sentimental bit a little, particularly up front because… well, we were having fun — Sofie Skaspki’s and my A Touch Of Night is free on Amazon right now. Pride, Prejudice, Dragons and werewolves (oh, my.) http://www.amazon.com/A-Touch-of-Night-ebook/dp/B003Y5H664/ref=sr_1_1?ie=UTF8&qid=1317313084&sr=8-1

Yes, I did that cover. Yes, it was early days cover design. No, don’t tell me how bad it is. I’m better now. Actually that font is too small, the blue too blue and… never mind. The book itself is a fun romp with Mr. Collins as a were… well, I won’t tell you, just that he doesn’t know he’s one and most people don’t notice. Oh, and Wickham is a were weasel.

Anyway, go forth and amuse yourselves. I’m writing. :) Tomorrow I’ll post the beginning of a novel, which will be posted here in its entirety, (a chapter a week) then eventually put up for sale.

A sackful of disjointed recollection

So, now that I’ve set my hair on fire and ran around screaming on the same day that Amazon did the same for books and ebooks… metaphorically speaking, I’ll go back to trying to explain the things I love about Portugal, or at least about the Portugal I grew up in.

Mind you, the things I love, the things that bring tears to my eyes, the things I remember so vividly that if I close my eyes, I can imagine myself back there, are not only highly personal (meaning I don’t think anyone else, even born in the same general time and place would share them) but also highly time/place bound (meaning Portugal nowadays would not be any more likely to bring these experiences to someone, than any other place in the world would. And probably less.)

I was reminded of what’s really important, what’s really part and parcel of who I am, the things I really miss, when someone posted a video of the area I was born and raised in on Facebook. It doesn’t appear to be on youtube, so I can’t link it here. The still shot before the video starts is of two rows of houses flanking the camera – tall houses, flat against the street. By coincidence, the house only half shown on the right was my grandmother’s house, where I was born and lived till I was six. In fact, the door – now a garage door, because the house has been sold to strangers and modernized and completely changed – on the lower right hand corner was the door to the part of the house where I was born.

The rest of the movie goes on to show mostly apartment buildings – btw, part of the interesting point in this is that the person narrating it, from outside the area and from a heavily populated part of Porto, considered this walk bucolic and relaxing, even though most of the area is high rises and there are now no green areas except the parks. (It also shows tons of palm trees, which didn’t exist when I was growing up. Oh, okay, maybe one specialized type of palms, but they didn’t look like any of the palm trees in tropical postcards, which a lot of the new imports do. The type of palms that grew in the area before was more straggly, less sightly and mostly viewed as a sort of binding material for sheaves or produce and such. Fiteiras – bind trees, roughly – is what we called them. Lest you get the idea I was born in a tropical resort, that area is subject to arctic fronts and has the charmingly drizzly, dismal weather England is famed for.)

But it was that still shot, before you click on play, that captured me. It felt as though I could somehow go into the frame, go around the right hand of the house, before it showed in the picture, enter the metal gates into the wash-tank area that was shared by my family’s household and the tenants, past the wooden gate my grandfather built, and around my grandfather’s workshop to the back door. In across the patio, and the kitchen door would be open – of course, it always was – and then I’d go into the kitchen, with its noisy clock on the wall, and call my grandmother – now gone nineteen years – and she’d come from somewhere within and bring out the good cookies (since now that I don’t live there, I’d qualify as company) and make tea.

The point is that this is the place I go when I dream. It’s the place my mind goes when I think of “home” – and it is always the place as it was when I was very young, with my grandmother and my grandfather still alive. (And my grandfather died when I was fourteen.) With the dogs and cats I knew when I was young too.

Was it such a special place, then? I don’t know. To me it was the whole world. At a very fundamental level, it still is.

First remove from your mind all ideas of the landscape as you would imagine it. There is a fundamental divide between Southern and Northern Europe, and the US gets its landscape traditions and imaginings from the North. At the most basic level, that means that what you think would be wooden fences are actually stone walls. Usually very tall – about eight feet tall – stone walls often topped by broken glass to discourage robbers. These were grey because the rock in the region is mostly granite. They were often covered in greyish green moss and in spring might grow with little scraggly flowers in every barely visible crack. After that, you have to give up the idea of open lawns, or open anything. Even in the village of my childhood, where you’d think there was plenty of room, (there was, but taken up with pastures, fields — some lying fallow a year or three — and woods) houses tended to be closer together and if they had a yard in front, it was like urban yards, in the US – handkerchief sized at best, the size you could mow with a weed whacker. Not that most people did have lawns. Usually they had a profusion of flowers.

But only the newest houses had these “gardens” up front, and shorter (about five feet) walls that allowed you to glimpse the gardens. The older houses, by and large, came right up to the street. The doors opened from the narrowest of sidewalks. Yards, as such, were in the back, and they were often mini farms.

My grandmother’s house was one of these, and it had two front doors, opening RIGHT into the main street of the village, at what I suppose was a prime location, across from the store which sold everything from tobacco to codfish to clogs to notebooks. I don’t know if it had two front doors all along, or if the second front door – with its different house number – was pierced through the wall when my parents got married and my grandmother converted what had been – from what I understand – some sort of storage rooms into a shotgun type apartment for them. This is the place I was born – it consisted of a long, narrow kitchen where my mother worked, most of the time, the kitchen table doubling as her work table, a hallway the same breadth as the kitchen, from which my parents’ bedroom had been carved out with interior walls. It didn’t have a door, just a yellow curtain with black checks. In the hallway, before the bedroom, was my brother’s bed – really just a cot, to which an improvised new end had been added as he grew taller than expected – and his bookcase. Mostly he did his homework in the kitchen, or the living room if he needed privacy. Then at the front was a living room where my mother saw clients. We had the dining room furniture crammed there, most of my conscious memories. My mind also wants to add a sofa bed to it, but I honestly can’t remember if that’s true or my memory just thinks there ought to be one there. Note that natural light came in at two ends of the “home” only, through the almost always open back door (unless it was very cold) and through the glass insets at the front door. My grandmother’s house, next door, had windows.

Most of the time I slept at my grandmother’s or in my mother’s room – my dad worked out of town all week, which means I could sleep in their bed. And I always did if I was ill. I had asthma and bronchitis and –briefly, apparently – TB, so I guess my mom found it vital to monitor my breathing.

If you’re imagining a childhood of hard privation, well… sort of? I mean, my mother was very careful with expenses, and yeah, they had one more child – me – than fit into the house. On the other hand, this was largely self-inflicted. You see, my parents have a horror of debt and being in debt. So while they wanted to build their own house, they didn’t want to have a mortgage, so they were saving everything to build the house. This house was under construction for most of my early childhood (building in stone takes time) and we moved into it when I was six. I still returned to my grandmother’s house every day, usually to hang out and do homework. (It was just ten minutes walk up the main road.) So my grandmother’s house remained “home”. And it still is, even though it doesn’t exist in any real way anymore.

At some point – I suspect when my great grandmother was widowed early? Though my uncle seemed to imply at least once that this happened in his life time, i.e. when my grandparents inherited the house – rental houses were built next to the main house and attached to it. Well, one rental house, with each floor rented to a different family. It must have been at this time that their part of the yard – which comprised the water pump, as well as their two washing tanks and our large one (very large. Stone, and probably six by six and three feet deep) – were partitioned off. The tenants’ kids were supposed to stay in that area (it included a cement patio) unless specifically invited. But other than that, the area got used by us as well (we had one of the wheel water pumps. Great arm exercise for most of us, grandkids, as teens.)

It filled the “Water cistern” on the roof of the bathroom. And the tenants were allowed to hang their clothes in the depths of the backyard. And most people came in through those gates.

The backyard… in my mind it’s huge. Very deep. I’m not sure how much of this is true, and how much it’s a three-year old’s view. My play area started outside my grandmother’s (and ours) back doors. There was a broad flagstoned patio. From it, straight down, was a garden path right to the back. To the other side was a path around my grandfather’s workshop (he was a cabinet maker) into the little area from which the tenants area was subdivided. There was another path there, to the depth of the yard, and a path across. (Actually two.) You could circumnavigate the entire yard on those paths and I often did, either running or on my little red tricycle. I used to dream of doors opening in those areas that led to other worlds, which just tells you I was born to write spec fic.

The center of the yard had fruit trees and vegetables. The edges were ringed with grapevines, which in the manner of the region were trained up columns and across wires, so that they grew overhead, as a sort of roof. Under the grapevines (which were really only in full foliage summer and fall) we grew more vegetables, cabbage and I suspect potatoes. I don’t remember very clearly.

The back wall looked out onto what was to me then a complete wilderness. Fields belonging to the neighbors, and at the back of that a forest called Coriscos (lightning bolts) which I thought was untouched and virginal. Mostly pine trees, with some oaks, the occasional creek and small lake. The funny thing – my dad took me for walks in the forest most Saturdays, weather permitting, mostly to get me out from under mom’s feet, so she could clean house – is that though I remember clear as day us coming across toppled stones (some of them with inscriptions in Latin) and bits of wall (birds and lizards nested there) and even what was clearly bits of houses, until about a year ago I still thought of this as “the forest” and assumed it had never been anything but. This was dispelled last year by one of the earth view programs. From the air, you can see the entire area still covered in trees (about half what it was in my childhood. Perhaps less) is crisscrossed in the scars of vanished foundations and roads. Makes sense, of course, since the area was populated since before the Romans, so the idea that no one ever built there is a little nuts. But from the look of the ruins, from the foot print, I got the impression that the village extended there (or another village was there) more recently than the Romans, though not all that recently. Gut feeling I’d say that those areas were abandoned shortly after the Great Plague dramatically reduced the population of the area. I could be wrong, of course. It might have got burned and abandoned in the Napoleonic wars, which was not only time enough for the forest to grow over it, but time enough for enough people who didn’t remember it to immigrate to the area and for local memory of it to be forgotten.

To me, when you say “forest” that’s the area I think of – the dark green shadows, birdsong and running water. Curiously, in my mind, it’s always fall. The wild blackberry bushes that grow anywhere left untended in that area are always heavy with fruit (which, yes, we picked and ate, sometimes after rubbing it on our sleeve to…. I don’t know, add more germs? It seemed like a nod to appease the demons of dirt, though.)

It’s always fall in the house, too, and my grandmother is splitting wood to feed the Franklin stove, in her kitchen. There are cats around that stove, of course: Tareco (rags) patriarch of all he surveyed; Black, my first cat (yes, I was imaginative. Yes, he was black.); Vadia, (stray) the mother of the large and incestuous cat tribe; Moshe Dayan, the grey tabby who had lost an eye as a kitten and who, for reasons known only to my mom was her favorite. I’m told before these there was Matateu, the tom (I don’t remember him, though I’m told I lamented him for days) and Vadia the dog (I also don’t remember her.) I do remember Lord, the dog, who looked like an oversized cocker spaniel, mostly white with brown spots. He was my dad’s dog when he was single, and he’s what’s in my mind when you say “dog”. I remember sharing my bread with him – he licked off the butter, and I ate the bread. Until my mom caught us, that is.

Up till we moved away, the youngest and often solitary child (my brother is almost ten years older and my cousin, who was raised by my grandparents is fourteen years older than I) I played mostly with the cats (I must have tried their patience horribly) and though I was a cat, or perhaps that they were my siblings and would grow up to be children.

I spent most of my day reading comics (first by looking at the pictures, and remembering what people had read to me) or building cities out of several large boxes of inherited legos. If bored, I attached myself to my grandmother, who was always doing something interesting. I remember going with her to one of the nearby fields that led to the woods (my dad and I jumped the back wall, but grandma insisted on going in the land route. I vaguely remember the neighbors hated us jumping the back wall onto their cabbage patch, en route to the woods.) to “gather grass for the rabbits.” I had my own little apron and scythe.

Actually if there’s one thing in which these reminiscences are in any way relevant, those few of you still awake, might note two things. The first is that I was left largely to my own devices, unless I attached myself to an adult. There were no play dates and no one really put themselves out for my entertainment. The adults were mostly around (except my dad who worked outside the village) but they had their own work, and their own business. I was presumed, being a kid, to know my own business which was playing and learning. If I attached myself to an adult too long or too intrusively, the adult felt perfectly free to tell me to find something else to do. (When this failed, if it was warm, they filled the old hip bath, threw a pair of my brother’s old bathing trunks on me, and flung me into it with all my toys. This was guaranteed to keep me quiet for several hours.) There were no play dates, no extra lessons, no feeling that life was rushed or scheduled. Once I was up and had been fed breakfast, it was presumed I could amuse myself. By and large I did, though it sometimes involved annoying the living daylights out of my brother and (female) cousin. Not that this was difficult, since they were teens. We had no TV and though I sometimes listened to radio programs (mom favored shows on mythology or history) it was usually while doing other things. I’m not saying the adult graced with my presence (snort) didn’t often try to include me in whatever he or she was doing to an extent – I had the apron and scythe when I went out with grandma. My grandfather gave me a small hammer, brads and scraps of wood and would, if he had time, provide instruction on building doll furniture. My mom tried – with varying degrees of lack of success – to teach me to sew. I remember an ill-fated attempt at painting the hen house, though it’s QUITE likely I came up with that on my very own, with no adult encouragement. I remember it ended badly.

I believe this is now called “quantity time” as opposed to quality time. It’s also known as benign neglect and people with phd after their names say it’s the best way to raise a child. I don’t know. I have some pretty wonderful childhood memories. It taught me to amuse myself and develop my imagination. And I have, of necessity, brought up my kids in a similar manner.

The other thing you might note is that provided I wasn’t destroying something or running around the street (this was more a class thing than anything else. The street was not that busy. My mom was of course afraid I’d get run over – lack of clue about reality and luck being what they are, I might have – but mostly they didn’t want me associating with the children of the very poor, who roamed the street in a large band. There were reasons for this other than snobbery. The first time I was brought in contact with them, in school, I caught lice, which had to be gotten rid of without ruining my hip-length hair. Not an easy feat) I wasn’t watched over that closely. I remember as young as four and five spending entire days playing at my friends’ houses or their coming over to play. And I was allowed to have implements no one NOW would give their three year old: scythes, knives, chisels, hammers. Note that other than the incident with my brother’s transistor radio and the mallet (I’m sorry. OTOH he HAD painted fangs on my favorite pull toy — a smiling sheep) I never broke anything nor stabbed anyone.

Anyway, I suspect most of these reminiscences aren’t interesting to anyone but me. I will (hey, saving it for Halloween) speak later of more specific cultural things, many of them (as such things are) surrounding death and dying (all primeval stories are ultimately about either sex or death.)

You see what I mean about what I remember of Portugal and what I really love back there being so intensely personal as to be almost universal? There is a house back there in time that will always be home. And if there really is anything after death, and if there’s fairness in the universe, outside the minds of those who dreamed up the concept, I’ll eventually find my way back to that primeval garden filled with cats and dogs, with a conveniently circular path that a small kid can traverse in her tricycle, but with neither apple nor serpent. And this time, growing up will not expel me.

Unringing The Bell

Those of you who haven’t read Kristine Kathryn Rusch’s Writing Like It’s 1999, do so.

For those of you who read my blog this might seem like I’m harping on a theme, or like I’m getting repetitive.  Well I’d think so too, truly.  Except…  Except…whenever I’m at a con, someone – usually someone much less published than I am – comes back with a variant of “I’m going to keep my eyes shut tight and in the morning, this will all go away.”

Disruptive change is very scary and most people would rather pretend it will all go away, and we’ll be back to the familiar landscape and the familiar certainties.  Even if those are horrible.  Freed lions will often pace as though in the confines of the cage.  Those few of us who are awake and exploring every possibility, looking in every corner, searching for the way things will be are a small minority.

At cons, I still run into authors who look down on self-published authors.   I still run into authors who parrot the line about how much the publisher is investing in them: when it is patently obvious they’re lost in mid-list hell; I still run into authors who say “if you want to make a living at this, you have to publish with the big six.”

I had the dubious privilege of hearing a mid-press published author telling a self-published author whom I happen to know makes more in a month on one book than the mid-press published author has made for any two or three of his books that “most of what’s self published is crap and no one would buy it.  The future is finding a publisher and convincing them to accept you.  In two years, all this e-book stuff will be gone.”

It was breathtakingly bizarre.  Kind of like, in a fantasy novel, standing next to the hidden prince and watching the false king parade down the street looking down on everyone.  Like Saturnalia, with the fools reigning.

And then I catch myself – occasionally – thinking the old thoughts, too: “Well, what does he/she know.  He/she is small press published.”  Or perhaps thinking that some of my fledgelings will of course, eventually, follow the route I have.  And then I stop.  Because there are few things I know, but I do have some certainties.

These are the things I know:

Even if e-books all went away tomorrow, it wouldn’t go back to the way it was
Not the way it was in the early nineties, or even the way it was in the late nineties when I came in.  No way, no how, never.  Because there’s this thing called Amazon.  The publishers no longer control what’s on the shelves and what gets seen.  And even if Amazon died tomorrow, there would be other e-tailers.  Trying to control shelf space is not a winning strategy.  That bell has rung.

E-books aren’t going away
You can’t put the e-book genii back in the bottle.  I’m reading on kindle.  My kids are reading more on kindle than on paper.  So is my husband.  So are most of my friends. Barring some planet killing type of event, this is not going to go away.  No, the economic crisis won’t kill it.  Kindle books published by indies are cheaper.  The tighter life gets, the more likely we’ll buy those instead of the agency-modeled-to-death.

The hierarchies of prestige are gone
Because the big six no longer control access to shelf space (except in Barnes and Noble, and it no longer has the influence it once had) the safe hierarchy of self-published, small press, medium press, big press is gone.  We used to assume someone who self-published hadn’t even been able to get a small press to accept him/her.  We approached their work expecting it to be awful.  It often was.  That certainty is done.  A savvy author with time on his hands can decide he has a better chance going it alone.  Be careful how you talk to other authors.  That person with a single indie book out might have a larger readership than you could dream of.

Most authors have had a taste of freedom
I’m one of them.  Look, I’ve done next to nothing Indie.  A Touch of Night and a few short stories through Naked Reader Press. Interesting results but inconclusive.  However, just knowing I can write whatever and if it doesn’t sell I can put it up on Amazon and it will sell a minimum of x – plus be in print forever – has given me massive freedom.  I no longer feel like I’m blindfolded in the cattle car of a train over whose destination I have no control.  Even if indie proves to be less than half of my income, the ability to put out there what I think should be out there is slowly molding me into a different person: a much less fretful and worried one.  It’s likely to lengthen my life.  It will certainly make me easier to live with.  I don’t know how it’s taking other authors, but I don’t think it’s that bad.

We’re scared, but we’re not stupid
I know, I know, Dean says we’re stupid.  And he’s right in a way, but we’re a very specialized kind of stupid.  Also, he’s not seeing the pressures on my generation – those who came in after 2000 when the publishing houses looked at things ONLY through agents, and the publishing houses’ decisions could make or break your career, regardless of how good your book was.  We had to learn to shut up, no matter how stupid we felt what was happening was.  Not anymore.  And we’re losing the habit of silence – slowly.  The chances of a mass exodus back to publishers on the old terms because we don’t want to do everything ourselves is about … oh, look, do you see that flying pig?  Yeah.  Some of us will go back, of course – most of us who have made our name and can dictate terms, or the really small ones who couldn’t make it on their own.

And I’m not saying publishers are going away
Of course they’re not.  Though a few of the houses will vanish and almost certainly a few of the imprints will vanish.  What I’m saying is that the majority of the writers are NOT going to go back on the old terms.  You want us back, you’re going to have to do things for us that we can’t do for ourselves or hire someone to do for us.  I’m thinking this is the true “demise of the midlist” and not in the fake way you tried to do it before, where you simply announced the midlist was gone and kept changing midlisters’ names and paying them as beginners and not allowing them to build a following.  No.  I think the “midlister” the “shelf filler” the “person we print but don’t do anything else for” is gone.  You’ll have to treat every author as if he/she matters.  You have to make it better for them than they can do by throwing it up on Amazon.  I’m thinking good covers, publicity, limited contracts.

Make it worth my while
Or at least, don’t use aversion therapy on me.  You can’t keep me in the dark and feed me on shit anymore.  If the book is not selling, sure, I need to know, but don’t tell me it’s because it’s not a good book, when I know you did nothing to market it, not even get it on shelves.  And don’t, then, treat me as if it’s all my fault.  Because if you make things unpleasant enough and treat me like a serf, I’m going to think “well, I don’t need to work for you anymore” and I’m going to go Indie.

Give me a public
I’m thinking more publishers should look at Baen books, instead of turning up their noses.  Baen commands loyalty among its writers and gets dedicated readers who look for the brand.  Some of this is (good) marketing gimmicks: buttons saying “I read baened books”, book bags given out at cons, a slide show where upcoming releases are announced, a forum where fans can meet and geek out on their favs.  Part of it, though, the most important thing, is what none of the rest in sf/f or mystery has (I don’t know enough of Romance): a brand.  A unified taste.  For the big houses with multiple editors, this is difficult, of course.  But you can no longer be all things to all people.  Baen chose and does plot.  It does plot really well – whether it’s in sf/f or any of the variations.  “Things happen in Baen Books” would be a great tag line.  Mind you, if it’s one of my books (or Dave Freer’s, too, or a half dozen others) the books also have characters and feelings – but the “things happen” and “adventure” aspect MUST be there for it to be a Baen book.  When I started being published by Baen I immediately “slotted” into a pre-made public.  This, as a newby, gave me something to put my back against, as I grow the rest.  So, what can the big houses do.  I don’t know.  I don’t know under what constraints they operate.  BUT if I owned one, I’d give each editor an “imprint” and then give them the resources to publicize that imprint.  “Okay, Jane likes craft mysteries.  She can specialize in that.  We’ll call it Golden Brush books, and…”  Have them appeal to a segment of public, but appeal to them very powerfully.  It’s better to command 50k loyal readers and grow them slowly than to have most of your books bomb, except for a mega ultra blockbuster a year – which these days might not materialize.  (No power to push, remember?)  And meanwhile tell the editors that the house does… oh, pick one.  Beautiful, doomed adolescents.  Or perhaps more generally “character” or “angst” or “Beautiful language.” and unify that across your “imprints” which will maximize the chance of people reading the brand, not just the imprint.

Will there be a new equilibrium?  Of course there will.  And I think it’s about two years out, too.  But will things be the way they were?

E-books.  E-tailing.  Soon, the book printing machines in every bookstore.  Writers who’ve taken the bit between their teeth.  Will all that vanish?

No way.  You can’t put humpty dumpty together again.  And you can’t unring a bell.  So publishers and writers both will have to stay alert and change to survive.

UPDATE:  Ask not for whom that bell won’t unring…  I think what you’re hearing today, loud and clear, are funeral bells.  Or perhaps the woosh of the meteor falling to Earth.  The dinosaurs will never be the same:  http://www.thepassivevoice.com/09/2011/amazon-launches-79-kindle-and-99-kindle-touch-ereaders/

Looking Back

When I asked on Facebook for suggestions on what to blog about (what can I say?  A daily blog which by necessity stays away from most politics and current events is a challenge) a couple of people suggested I blog about what my upbringing made me or perhaps it was (the wording was ambiguous) how the writer is made by his/her past.  A friend interpreted this to mean what I liked/missed about Portugal.

The last is understandable, as I suspect I often give the impression of “I’ve shaken the dust off my sandals, and I wouldn’t go back for a million dollars.”  Well, this is actually true, in a way, but it’s not intended to reflect badly on Portugal.  It’s more a matter of post-divorce feelings, when one member of the couple says “it just wasn’t right” or perhaps “It wasn’t so and so, it was me.”

This doesn’t mean there weren’t things about Portugal and my upbringing that I loved, things that made me uniquely what I am.  I have, in fact, had a couple of misguided people (one of them a colleague – eh, in a sense) who have got upset now and then at how much I talk about my past in Portugal, as though, they think, it were some sort of universal experience.  And I am, let me add, forever afraid I talk too much about Portugal – an experience most of you can’t really share, which puts me in the position of the old traveler and/or soldier describing experiences that can never be brought successfully forward, except through fiction.  (And I know I write very few things set in Portugal, but that’s something else.)

The reason I talk about it, particularly in non-fiction is to explain why I have what might strike some as a weird set of opinions/beliefs.  Life experience doesn’t explain what I believe, any more than it explains why some of us have a compulsion to write but it might allow some people to either count it in or discount it.  Say, I had a rabid dislike of dogs (let me assure you this isn’t true, although I am afraid of loose dogs, while I’m walking because of a past experience in which one tried to attack my kid in his carriage.)  If you knew that as a child I’d been attacked by a vicious dog (I wasn’t) you’d be more likely to discount that opinion one way or another.  So if I blogged that all dogs should be shot (again I don’t think this.  I like dogs as much as I like cats) you could go “Oh, it’s just because she never got over that incident in her past.”  Which is why I tend to give, perhaps, too much background on how I feel about things.  Well, that and because I often feel as though history classes in the US are ruled by “Speak no evil about foreigners” which has allowed at least two generations to grow up thinking the US is uniquely evil (rolls eyes.)

Anyway, that is one reason I tend not to talk about Portugal, unless I’m using it to justify some belief/idea/experience.

The other two reasons are more…  Complicated.

The first is that, unlike the divorce analogy above, I did not choose Portugal and I don’t think we were particularly compatible, culture to human type of thing.  This is hard to judge, of course.  I mean, I grew up there; the language was the first I learned; the “how things are done” the first I embedded.  So, it’s difficult to separate “this is me” from “this is me who was born and raised in Portugal.”  But if it can be established that some people feel like they were born the wrong gender, I felt, as far back as I can remember, slightly uneasy about who I was and where I lived.  This eventually – when I had experience of other countries – gathered into “I’m an American trapped in a Portuguese body.”  (Before that, I just thought I was crazy.)

This is no reflection on Portugal, anymore than someone feeling like a woman trapped in a man’s body is not saying being a man is bad.  OTOH that person might be the last one who can propound on men’s issues.  And I am probably the least likely to speak both dispassionately and competently on Portugal.

Not that there weren’t parts of Portugal I loved – specifically the little village (hamlet, really) I was raised in, and, in varying levels of attachment, the slightly larger town we were attached to, up to and including the city of Porto, or at least parts of it.  For a long time, trying to explain my feelings about my origins I said “I’m not really Portuguese, but I AM from Porto.”

Note the tense of the verbs above.  Does this mean I’ve fallen out of love with those regions?  Not… exactly.  The thing is those regions no longer exist as I remember and if I spoke of them now, I would have no clue what I’m talking about.  Not only have I gone on an unavailing photo safari to try to record things I remember from childhood, but I got lost THREE TIMES in the village where I spent 22 years.  No, honestly.  The roads are all different.  Some alleys have turned into roads.  Some roads have disappeared.  The village in which the ONE building over two stories was built when I was 14 – and at five stories got called “the skyscraper” or “the apartments” – is now mostly stack-a-prol cement buildings.  The school I attended has been replaced with a much larger cement box.  The little “the train stops here if it feels like it” train stop is now a station with announcements over PA, electronic schedules and ticketing machines.  This in 25 years.

I’m more likely to find my way around Stow Ohio, where I was an exchange student for my senior year of highschool – mumble – years ago than to find my way around my native village.  The changes are unimaginable.  And while I’m conscious they needed to happen – we were the “well off” people, if not the most well off, and we didn’t have running hot water.  A lot of the people in the village had no water at all and needed to go to the public fountain, Roman style.  The public laundry facilities PROBABLY dated back to the Romans with some changes.  Etc.  The country needed to be pulled kicking, screaming and biting to the Century of The Fruitbat, or at least The Milenium of the Constipated Weasel.

The way it’s been done, with a whole lot of top-down and “your betters know what’s best for you” which has not only depopulated the interior and led to all the stack a prol buildings, but also led to a collapsed birth rate (people can’t afford to have kids) annoys the living daylights out of me.  However, it must be said it doesn’t seem to annoy the living daylights out of the natives, and how they choose to live is ultimately none of my business.

Yes, I do get rather upset that they choose not preserve the village in amber to match my earliest memories and put brass plaques all over saying “Sarah A. Hoyt made a mudpie here.”  “Sarah Hoyt got in a fight here.”  Mostly because it’s a waste since you know and I know in a hundred years they’ll be doing that, and recreating my childhood home in every detail, but what can I do?  People are like that. [Ed. Note – I AM JOKING.  I AM VERY MUCH JOKING.  I CAN’T MUSTER EVEN SELF CONFIDENCE, MUCH LESS NARCISSISM.  But it is true the only reason for my annoyance is that it inconveniences me.  And that’s not a real reason, and I know that, since I’m NOT the belly button of the universe.]

And having spent all this time whining about why I don’t blog about Portugal more, I’ll have to leave what I loved about growing up in Portugal till tomorrow.  And hopefully my reminiscences won’t bore you to death.

A Consummation Devoutly To Be Hoped For

Let’s talk about endings.  (I said endings, not ENDS, so those of you in the back who just started elbowing each other and chortling can stop right now.  There are no off color remarks in this here imaginary classroom.)

This is brought about by three occurrences: First, the con is over; second, I hope to end A Few Good Men; and I just finished reading ConSensual for Kate Paulk.  The end took me completely by surprise in a not good way.  I’m not going to say how because a) it’s her first pass, and heavens only know what the end will reveal.  b) part of the reason it struck me as off is that this is a series, and her ending this way sets it up for a direction the series is not going in (yeah, she talks to me) and that could set up a problem later.

So, on this very scattered Monday morning, when my caffeine meter is still about half down, here are a few thoughts about endings.  Particularly endings of novels, which are MUCH more difficult than ending shorts or poems and which have to be more satisfying.

1- Make sure your ending is satisfying.  This means, yes, if you’ve been dragging us through this novel, with a repulsive anti-hero, kill him, painfully.  OTOH for most novels a “and they all died” is about as satisfying as “and they all woke up and it was all a dream” – which I still get a lot when I judge contests.

2- Make sure your ending is foreshadowed.  And the gentleman in the back can JUST stop whining that he wants his ending to be a surprise.  Yeah, don’t we all.  Remember though no matter how carefully you hide the ending, someone will GUESS so you have to have something besides the surprise.  And besides the surprise you want is not WTF?  It’s “Oh, wow.  I never saw that coming.  But now I see that the clues were all there.”  The way to do this?  Well, I know only one way – put in the clues for more than one ending, and hide the real ones under the false ones.  However, I tend to look more for SATISFACTION than surprise.  Surprise SOMETIMES in how the ending comes about, but not the ending itself.  Look, if everyone wanted surprise endings, Romance would NEVER sell.

3- For series, be very VERY careful how you end a book.  This is because anything that happens at the end of a book assumes more importance in the reader’s mind than the ten thousand things that happened in the middle.  I.e. it’s what they walk away thinking about, and what they’ll build their imagination on until the next book/movie.  Why is this important?  Well…  Imagine for ex that at the end of book 5 your guy walks off into the sunset with this hot chick.  No matter how many clues you build in that this is just a fling like other flings he’s had IN books, no matter how much you foreshadow, because they walk off together at the end, this romance will seem much more important.  They’ll expect the next book to be about them setting up house together and will feel you pulled a Karate Kid on them when he starts the next book without her and, btw, book 24 they’ll still be asking you “So, when is he getting together with X?”  You don’t want that, you don’t do that at the end.  This sometimes can take a LOT of finegling.

4- This is actually a general rule, but it’s particularly important for endings: if you’re going to kill someone, make it count.  I.e. if you have a good or neutral person die for the final victory, build them up (sometimes by going backward through the book from the end.)  And if you are going to kill the villain, make him good and repulsive!

And to end this, that’s about all I can think of this morning…

If You’re Not Insane Yet

I think I’ve quoted Eric Flint before on the subject of “if you’re not crazy when you become a writer you’ll be crazy within a few years.”

Of course, part of me views this as the inevitable consequence of living too close to your imagination.  You sit there with the people in your head and concentrate on the imaginary world, the details of it, the texture, and how thins work.  Those of us who are obsessed with making things plausible, research past any reasonable point.  Even when I was a little girl, telling stories to myself, I spent type studying anatomy and biology and animal physiology (uh, my stories involved aliens, mkay?  Often spider aliens) as a way to convince my listener – myself – that this was all possible.  This evolved into the type of either insecurity or compulsiveness (you decide!) which made me read 40 books on Shakespeare before writing my first series.

[Does this mean everything in my books is infallible?  No.  When it comes to years, I have this curious form of weirdness that makes me think “the sixteenth century” is 1600+ No.  I don’t mean I think that CONSCIOUSLY, I mean I write it that way and it will slip by if my copyeditor doesn’t catch it.  In the same way, attempts at copyediting often confuse things I know perfectly well.  I’m thinking here specifically of the copy editor to Plain Jane who spent a considerable amount of time “fact checking” me on the internet…  When I’d used more reliable genealogies and a family history written by the present-day-descendant of the family.]

What it means, though, is that I spend a lot of time inside my head, with my worlds.  This is deceptive, as – between that and my busy, busy social life on FB, AIM and email – I often don’t realize how little I see people outside my family.  Eric, himself, in a con panel, said that was the problem – that writers lived too much by themselves.  (And why he thought cons were necessary.)

Why is this important, you say?

Well, I never though of myself as introverted, much less a recluse.  I was never one of the people who were student council leaders or anything of the sort, but I was one of the popular kids, at least in college, and I often spent my entire day in crowds of some sort.  I tutored, I attended classes, I often had parties in the evening.  I didn’t find crowds particularly draining.

So, I never thought of myself as an introvert.

Which is why I’m getting really worried at the fact that even going to a con for a couple of panels leaves me feeling half dead.  And I’m getting REALLY tired of the stomach upsets at every con.  Since they’ve also manifested before other stressful events, I think that’s all these are now, a sign of “I’m stressed.”

Let me just say that my body could have picked a more unlovely way to communicate this, but I’m at a loss to figure out what.  Going to cons and preparing for cons is hard enough without feeling dizzy and nauseous all the time.

And no, it’s not my fans.  You guys know I love you, right?  I think that it’s simply the crowds, the disruption of routine and not being able to kick off my shoes and lean back.  It’s knowing people are watching me, as well as listening to me.  It’s made somewhat easier by having a room I can run away to, and somewhat worse by my not sleeping well or not sleeping enough.

It might be I have to start inoculating myself against this by doing something like booking dinner with a medium-large group of friends and acquaintances once a month or something.  Or it might be I lock myself in my office and start sliding the manuscripts out under the door.

Yeah, I think I like that last one.  What do you think?

The Impermanence of Virtuality

This is a really quick post, as I’m headed to Fencon.  I’ll report on the con this evening.  However, because A Touch of Night (with Sofie) my Pride and Prejudice and Dragons book — is free on Amazon right now — I meant to post here the beginning of my “elf prince Darcy” story as sort of a sop to you guys (and a joke, too.  So you see how weird I get.)  And while I couldn’t even remember what I named it, or where it might be on my computer, I thought, “Not a problem.”  I’ll search the Derbyshire Writers’ Group archive for my name.

So I went there…  And the fan fiction archive is gone.  Now the question is… do I even have it saved anywhere that I can find anymore?  And if not, why not?  And don’t say because I’m dumb.  I know that.
Let that be a lesson to you, guys.  Put not your faith in online groups.  I’ll go and attend the con, now.  Come to the signing if you’re in the area!  It’s at eleven thirty.  And then I’ll look and see if the story is anywhere….

You Can’t Do That!

Critique groups, critique partners and other such checks on your sanity and the sanity work are important, not to say vital.

But there’s another type of “check” that can be sanity or insanity, very good or very bad.

I have a stable of experts, from law enforcement to various parts of science, whom I call on when in a pinch.  You guys know who you are, I often acknowledge you in my books and rest assured you’re the good guys.

A good expert is the one who can tell you the relevant facts you need to finish your story.  A great expert is the one who looks at your story, pulls his hair out, says “you got it all wrong.”  And then spends three days researching till he comes up with facts that WILL fit your story if you make minimal adjustments and don’t change the plot much.

I’ve been blessed with great experts.

On the other side of this, there’s what I call the “self appointed experts.”  These people are often other writers who have a “Method” and whose main modus operandi is standing athwart the storyline/setting/character you want to use and screaming “You can’t do that!”

Sometimes they are well intentioned.  For instance, the gentleman who came to one of my occasional writers’ groups and who told me “you can’t sell a first novel that’s longer than 100,000 words, no one will buy it, no matter how great it is.”

This, by the way, was said at the time when the books being bought were climbing up to 250000 words – what my friend Dave Freer calls Goat Gaggers.  But this gentleman had been to a world con and heard an editor say he didn’t want anything longer than 100000 books and was trying to be helpful to those of us who had no money to go to worldcon.

Mind you, this gentleman is the same who – reading one of my space operas – told me that calling a gun burner just wasn’t done and also that guns don’t zing, they snick or crack or…  Without bothering to notice I was talking about a laser weapon, not a normal present day gun.  So one has to question the good intentions, just a little.

And that’s part of it.  The self-appointed expert is most often a contradiction and if you wonder if they’re wholly well intentioned you might be right.  In general I don’t think they themselves could tell you for sure what their intentions are, if they’re honest with themselves.

Often they are “elder” writers as you’re just coming in, and their intention, if they were honest, is to keep their superiority over you, when they’re afraid you’re moving past them.  Their “superiority” may be largely imaginary, which makes it worse.

My one experience, for instance, didn’t involve any of my multi-published or bestselling friends, whom I tend to listen to with rapt attention because, duh, they know better than I – but when I was just starting to sell short stories, I was friends with an author who had sold one novel, years ago.  She was a fountain of “you cannot do that” and all of them bordered from the crazy to the wrong.  More the fool I, I allowed her to kill two books.  In one of them, as I was working on the preliminary outline for a thousands years old nomadic culture, I talked about it to her, and mentioned they often stayed in caves along their route.  She told me I had it all wrong.  I needed to start from the geology up.  For there to be caves, they needed to be in sandy, limestone country.  This, by the way, is nonsense.  Of course there are caves in other rocks (I grew up with caverns in granite) and over thousand of years, the culture would have MADE them where they weren’t.  But I thought (I was very young) maybe that was the American perception and I’d never sell it.  Besides, I didn’t want to start with the geology…

The other one, which might still see the light of day as Hell Bound, was an urban fantasy where this woman was being stalked by what appeared to be an angel.  I showed her the first three chapters and she informed me it didn’t have an “engine” that there was nothing “driving the book.”  Again, I was very green and very young and I thought that she must be right, though I didn’t see it.

It wasn’t until I sold my first trilogy and sent her the manuscripts – and she didn’t realize it was sold and told me that I’d never sell it because the books “engine” was romance, not fantasy.  To this day I have NO idea what she meant.  And that’s when I realized – in retrospect – that I should never have listened to her.

Then there is the “subject matter” expert.  The problem with these is that sometimes they are truly experts in their subjects, but they’re not writers and can’t imagine their own field 500 years in the future.  They’ll be too bound by “the way things are.”  These are the people who, fifty years ago, would have told you that there would never be small personal computers in every home, and would have laughed at you if you told them there would be a computer of sorts in every coffee maker.

When picking your science experts, pick science fiction fans, they tend to be more flexible.

Then one of my fans told me about a sub-set of the “experts” who, apparently, are experts in made up lore.  They will tell you your elves have to be pretty and sweet (Or blood thirsty and evil) because that’s the way they are in some RPG.  Of course, those of us who are so old that RPGs are “those things my crazy friends play”, just snort and giggle at “the RPG doesn’t do it that way” and shrug.  But I understand for the young kids, who think that game antecedent is as valid as legend, this can be a stopping point.

So, my advice on experts?  If you didn’t ask for the advice, do not take it too seriously.  If something sounds right, or as though it might be worrisomely right, check them with an internet search or ask someone you know.

The best advice on experts?  Find imaginative, cooperative, brilliant experts in whatever field, that will make your plot work within the facts.  And no, I’m not sharing mine.  (My preshious!)  Heaven knows I keep them busy enough!  Thank you guys!