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Jan 19 12

January Guest Posts: How I learned to Love My First Drafts/ Sally Zigmond

by Richard

Our next guest for January’s discussion of all things pertaining to First Drafts is historical/romance author Sally Zigmond, whose wonderful novel, Hope Against Hope (Myrmidion Books) has been short listed for Romance Novel of the Year. Ms. Zigmond is a writer of unusual clarity and wit, and has served as Reviews Editor of the Historical Novels Review. We’re very happy she had the time to add to our discussion…

Author, Sally Zigmond

Some time ago, I read a blog post written by a British writer who claimed not to write drafts. She completes a manuscript straight off in about a month and after minimal tweaking, sends it off to her agent. No doubt it helps that she published her first novel when she was eighteen and is now, I believe, in her seventies and has a ready-made agent and a publisher. And no: she doesn’t write trash. Far from it.  Either she no longer feels the need to stretch herself or she’s done it for so long, she can write in her sleep. I don’t know which but I wish she would bottle it and make it available to letter mortals like me.

I can’t remember when it was that I heard the well-known phrase (or one of its many variants): “allow yourself the privilege to write a shitty first draft.” Although this amazed and delighted me, I don’t think I really took it on board for a very long time. Of course I knew that a first draft was not meant to be the finished product but still I laboured to make my first draft interesting, the characters compelling and the plot, well, intricate as well as un-put-down-able. And I still got despondent when what I read failed on all counts. I have wasted months in total despairing of my skills. Why?

You see, despite what I’d been told and thought I’d learned, I still wanted to feel I was writing something that was worth reading. Reading the first few drafts told me I wasn’t. I convinced myself that the first drafts of ‘good’ writers (whoever they were) were always far more competent than mine. I also couldn’t forget that novelist I mentioned in the first paragraph. Therefore, to me, writing that first draft was laborious, dull and deeply, deeply unsatisfying. And it all took so long. 1,000 words a day? In my dreams.

I slowly came to realize the truth backwards. I discovered that the ratio of satisfaction to disappointment was linear. In other words, the later the draft, the more I enjoyed working on it. And so I learned to accept that the first draft could be worse than bad—after all, who the hell was going to read it, but me?—but that each subsequent draft would make my manuscript better and better.

Now working on my third manuscript (or rather, a totally revised version of my second manuscript) I have finally allowed myself to enjoy—yes, enjoy—that ‘shitty first draft’ because, as the song goes: Things Can Only Get Better.

So onto the practicalities. Before I begin it though I usually have a beginning and an end (sort of) and what I want to say. I always see my plot as a journey, usually from ignorance to understanding or youth to maturity. Because I write historical fiction set in a specific location or locations, I do a lot of reading and walking and absorbing. I also have to know the names of two of my main characters from the outset. The rest I make up as I go along and frequently change. The longer I’ve been writing, the more I know when I’m wandering off the track. In that case, I merely stop and then go back to the point where the decision was taken (or the road diverged) and then take the other path. I can remove the dead-ends and meanders later. If I find I’m getting bored with writing about one person and one journey, I’ll create another person and start to tell theirs—usually a total contrast. So for instance if I write about a country girl, I’ll create a woman who lives in a city and then entwine their stories. My first draft is full of arbitrary coincidences and contrived meetings but in subsequent drafts—in other words when I’ve got to know my characters better—these become more natural.

So why don’t I plan all this first and then write the novel? Because I’d be bored, that’s why. To me my drafts are my journeys of discovery and if I knew everything to begin with, there would be no point in writing it. I enjoy working it all out and my characters end up cleverer, more resourceful and exciting than I’d hoped.

So that’s why I am no longer afraid of that first draft.

Hope Against Hope by Sally Zigmond, long-listed for the RNA Romantic Novel of the Year, is published by Myrmidon Books and also available on Kindle. (Currently at 93p/US$1.99!)  Amazon and Barnes & Noble, as well as from your local book seller.

Read her musings on the craft and other topics on her blog site: http://theelephantinthewritingroom.blogspot.com/

She is almost ready to submit her second novel, We That Are Left, set in Leeds, Yorkshire, England in the 1920s. Fingers are crossed.

Jan 10 12

Goodbye 59! Good riddance, too…

by Richard

This was first posted on Litopia, the site for writers

Yesterday morning, I looked in the mirror, after climbing out of bed (Note: climbing out. I used to jump out or roll out). I saw the tired, old reprobate looking back and instead of rubbing my eyes to dispel the image, I embraced it. For many years — as far back as my adult memories go, I remember looking out of twelve-year-old eyes to watch the parade. Yesterday was possibly the first time my eyes felt like they’d been used for six decades.

It felt good. No more silly denial. No more clinging to the “you’re only as old as you feel” nonsense. I finally felt like I was properly dressed for the occasion. I think it was George Carlin that described “hitting” sixty. Not a gentle glide for him, but a jarring impact. I guess that wasn’t really true for me. I just slid into the slightly ragged clothing waiting for me. The slightly scuffed, old shoes that actually look like my knobby old feet. The sweater made more of pills than the knit yarn beneath them. No flash at all. Cozy, instead.

I realized that my writing alone has been leading me here for years. A comfortable recliner has always been waiting for me, beckoning through my characters, my plot lines and the stories that cycle through my head. The kind of tales you’d want to curl up to read, not the kind that fan flames of angst, lust or depraved evil. Not that I’d ever turn away from that kind of reading, oh no. I love to be entertained, but at the end of the day, I want to write stories that entertain while being warmed by the fire with a glass of something comfortable.

I used to agonize over daily details, first in my jobs, then in my own businesses. Yesterday, the truth overcame my desire to feel like I was achieving something. I really don’t feel like working that hard. There’s so much more to do with my time than just sort through piles of … I think you get the idea. I still have to make a living, and my day-job will still give me some annoyances, but ahead, I see enjoyment, appreciation for life and possibly a few shades of transparency as I join the ranks of those who have begun to fade a bit. I didn’t really know what Tolkien meant when he wrote of the Elder Race fading, when I first read his work. Now I’m pretty sure I could watch the process and report on it.

My wife told me how she began to feel invisible in public the day after she turned 50. I’m a tall, big fellow, so that didn’t really mean anything to me personally, until really last year. Last year I found I was constantly referred to as sir by everyone I had dealings with.

I used to wonder who that old man was they were calling sir, but yesterday, I understood, finally. It took a long time to come to understand. Now that I’m here, I can see that I’ll waste a lot less energy trying to preserve the image of someone not really as old as he looked. I am as old as I look. Proud of it, too!

Jan 6 12

January Guest Posts: The First Draft/Bill Kirton

by Richard

My next guest is novelist, playwright, actor and director Bill Kirton. Bill has published six novels, a children’s mystery and five non-fiction, “How-to” books. His wide ranging careers outside of his literary writing have provided him with a great deal of material which helps him, no doubt, in creating memorable, honest characters in accessible, yet sometimes outrageous circumstances.

He’s at present working on a sequel to his historical mystery/romance, The Figurehead. It’s set on Aberdeen’s waterfront in 1840 as sail and steam clash for control of lucrative shipping. His newest release is Shadow Selves, set in a Scottish University hospital as a puzzled Detective Chief Inspector uncovers the convergence of academia and politics while searching for clues to an un-natural post-operative death. Bill’s novels are published by Pfoxmoor and available from booksellers and online.

To gain an understanding of his approach to a first draft, we asked him for his own reflections…

Author Bill Kirton

 

For me, first drafts are voyages of discovery. When I’ve done all the obvious research, I have a general idea of the destination and know the main events I’ll need to include as I go along. But it’s always possible that, on the way, an alternative route will present itself (or force itself upon me) and I’ll find myself going in an unexpected direction. So I hardly ever sketch out a detailed itinerary. The only time I did work out a meticulous plot, with set characters and motives, was for a radio play which was broadcast by the BBC. One of its reviews began “This is a tiresome play about tiresome people”. And I agreed completely with the sentiment. The “people” were mouthpieces for me rather than real independent characters interacting freely with one another.

A writer at a panel I chaired at the Edinburgh Book Festival expressed it beautifully when she said “You have to give your characters room to dance”. For me, the important thing is to let the characters bubble away and develop until they’re ready to start interacting. Once I know vaguely who the main characters will be, I start thinking about them and ask the obvious questions. What would she/he do in specific situations? What if I put them into such and such a context? How would they behave? In other words, I get to know them better before I let them loose in the situations which will produce the necessary drama, suspense, atmosphere, laughs or whatever I’m looking to trigger in the reader. And once they start making their entrances, I give them the space they need to be themselves.

 

 

 

 

 

 

 

I know it sounds slapdash, haphazard, but if nothing happens, I know they aren’t real. They invariably surprise me and take me to places I’d never have conceived without the driving factor of their personalities. That doesn’t mean I don’t intervene and nudge them in particular directions – obviously I do, but it’s how they respond to my nudges that’s important. I’ve no idea how it happens, but I just find them deciding to do something or other which has consequences and makes the other characters react, and so it goes on.

It’s a technique I use in workshops. The class starts with no idea of what we plan to write, so I encourage them to put together things that don’t belong. I might, for example, suggest a “typical” scene – let’s say an old lady in an “ordinary” living room, lace curtains, slightly shabby furniture, no electronic equipment except an aging TV set, porcelain ornaments of animals, etc. She pulls back the edge of the curtains and sees … what?

I let the class suggest the sort of things she might see and almost every suggestion leads to possible plots, each of which you can change in turn by adding a detail:

  • They say she sees the postman coming up the path. I add that he’s not wearing his usual uniform, but a very smart suit, with tie, shiny shoes, etc. Why?
  • They say she sees a group of kids fooling around. I add that one of them isn’t fooling around, but just sitting on her garden wall, his back turned to the others, looking straight at the house. Why? Who is he?
  • They say she sees her cat ambling up the garden path. I add that it’s leaving a trail of something on the ground behind it. What? Why?
  • Or else I suggest she sees soldiers, or zebras, or a strange darkness even though it’s midday.

And so it goes on. It’s all about answering questions, especially the one that never fails to produce drama or conflict – “Why?”

But that first draft is, of course, just that – a beginning. When I have it, I can move to the editing phase and start focusing on structural aspects, moving scenes around, optimizing effects, ironing out inconsistencies, eliminating side alleys, polishing the prose or sharpening dialogues to make the most of where I’ve been taken. Frequently, when I return to a book I wrote a while ago, I have no idea how it came to have the shape it does. So I accept that, as writers, we’re in control of our material, but how it all works is a beautiful mystery.

Jan 1 12

January Guest Posts: The First Draft/I.J.Sarfeh

by Richard

For writers, the first draft of a novel can be either a drudgery or an exhilaration. Every writer approaches it differently. So to start off the New Year on the right (Write) foot, I’m inviting authors I know, who have produced several novels, to discuss their methods for getting down to the task.

My first guest is Medical Mystery novelist, I.J. Sarfeh, who has an interesting life story, as well as a fertile imagination for spinning tales. In his own words…

Author I.J.Sarfeh and FriendAfter devoting thirty years to surgery, all of it at universities, I needed a rest and a change. Practicing medicine was gratifying, but it deprived me of life experiences outside hospitals and clinics and operating rooms. Write, my children said, because you’re a great story maker-upper. So I made up stories and published them. The first six were medical fiction, in the thriller or mystery or suspense genre with emphasis on surgeons whose characters are shaped by their profession. The next two, which are yet to be published, are of the literary fiction genre, stories in which I drew on my experiences as not only a surgeon, but as a person from

Iran who lived away from home most of his life and who as a youngster suffered the barbs of prejudice.

Before the First Draft, I write down the skeleton of the story, which more often than not comes to mind in the middle of the night. Below is a typical outline; it represented one of my earlier novels, The Final Victim:

 Genre: Medical mystery/suspense.

Theme: Stem cell research.

Main characters:

Protagonist 1. Greg Dostoyov, a surgeon, Russian-American in his late thirties. Shy, reclusive, courageous when pressured to act.

Protagonist 2: Kate Adams, aggressive, forthright, but with hidden fears. A biologist in her early thirties.

Antagonist: Jules Morton, a PhD in his late fifties. Embittered by a years-past catastrophic event that shattered his life.

Points of view: Greg Dostoyov and Jules Morton.

Plot: The surgeon operates on a famous athlete. Six weeks later, the athlete is dead of a mysterious cause. The media blame the surgeon for the death.

Plot driver: Searching for facts behind the mysterious postoperative death.

Settings: Minnesota, Utah, Southern California, Scotland.

Once I have the basics of the plot and characters, I start writing the first draft—anything that comes to mind within the outline; no editing, no going back—just keep writing until it’s done.

 

 

 

 

 

 

 

 

 

 

Details of my novels are available at: Amazon.com (click above image)

and http://www.ijsarfeh.com.

Dec 24 11

Our one wish for the world…

by Richard

Dec 21 11

New Gatekeepers Edition Now Available…

by Richard

New postcard mailing now...

Thanks to the efforts of friends and especially author and editor Wendy Bertsch, of www.Past Times Books.com, a new edition of The Gatekeepers, long in the works, is a reality today. The new edition clarifies patches of murkiness and addresses a great deal of punctuation ambiguity. Errors, actually. I have some issues with comma dyslexia. I hope all of my readers will notice the improved read flow.

Onwards…

Dec 11 11

Here’s the Answer…

by Richard

Today, the HuffPost carried a statement from Steven VanZandt, founding member of The E Street Band. He’s been working at figuring out why our political system here is a disaster. He’s put together one of the best distillations I’ve ever seen. It should be required reading in every home in the US. Be sure to check it out… even if you disagree with his conclusions, you need to read this:

http://www.huffingtonpost.com/steven-van-zandt/democracy-in-america_b_1139463.html

Dec 10 11

Enough Joy and Peace Already…

by Richard

…you know that Saaanta’s on his way (cha-cha-cha)… he’s loaded lots of toys and goodies on his sleigh (cha-cha-cha) and ev’ry mother’s child… is gonna spy, (cha-cha-cha) … to see if reindeer really know (cha-cha-cha) how to fly (cha-cha-boom!)…

Let the Holiday Drudgery begin! This year, we’re painting our guest bathroom, in time for the Holidays. Once every twenty-six years – whether it needs it or not. So, after the first day of feverish exertions doing the ceiling; and the low energy level that accompanies sore shoulders, I switched the Satellite Radio we listen to during the day, to the Holiday Channel. I figured the sappy, buoyant music would give us a surge of spirit and ebullience.

Yes, that’s right. I switched on the dreaded Holiday Radio Channel on purpose.  Joyeux Noel! The second day went quickly and merrily, if I say so myself. But today… with several hours’ work ahead of us, the repertoire seemed to consist solely of the “novelty” tunes of the 1940s and 1950s.  You might remember the silly, over-arranged debacles from the Hit Parade. The ones we all groaned in unison to if they came on during the Season. The stuff you can’t even sing along with without an immediate headache.

After about four hours of cheerful tunes like the intro lyrics above, backed by a distinctively trashy Ethno-Latino horn section, it was either me or that music! One of us was going to die, and it wouldn’t be me. Wainscoting finally finished, I carefully extricated myself from the knee-cramping, back twisting position I had been occupying, and despite all the good cheer, joy and peace blaring mind-numbingly from my two sets of speakers, I ran (well, it resembled running, only more awkward) to the receiver and switched it off. Oh! The blessed relief! Where are my Ibuprofen?

I’m not sure if my growing hatred of the Holiday Novelty music genre is based upon my advancing age, or if I really, deeply down, still hate my parents (I don’t think so); but I won’t  weep if I never hear Xavier Cugat’s Christmas Classics again. I may weep if I do. Then, I remember that what doesn’t kill you makes you stronger. I will live to paint again. I feel much better, even if decorating the tree still lies ahead. Merry whatever.

Dec 8 11

Reviews, Reviewers, et al…

by Richard

I suppose I read reviews, same as most other readers. A thoughtful review can help me decide to buy or pass on a particular book. Of course, I understand that not all reviews or reviewers are created equal. If I follow one reviewer or another, it’s usually because of the quality of their writing, and whether or not I’ve found their words helpful. If I agree with them on a book I’ve read, that adds to the chances I’ll read another of their reviews, but not always.

Here’s the thing: I’m a writer. I’m not a proofreader or an editor except when left with no other choice — usually to my eventual chagrin. The explosion of online media has seen an explosion, too, in the ranks of those who now consider themselves reviewers. Yet, the review that is concise, intelligent and useful, at least to this reader, is still rare.

Not that there isn’t plenty of opinion out there, but sometimes, that’s all it is. Opinion. Generally, unless an opinion can be held up alongside my own experiences and beliefs, adding to my understanding, it is only an illustration of the reviewer, not of the book, tool, vehicle, hardware, software, restaurant, vacation destination or wine. It’s just a simple snapshot of the reviewer’s moment. All too often, I get the impression that a lot of online reviewers have way too much time on their hands and approach a read with a magnifying glass and a rule book. Some are simply trolls looking to sow discord and gloat. Lots of that out there. Seems like such a waste of time, but there is a market for that kind of thing.

If I read a book that makes me happy, or gives me something to think about, or learn from, or touches me in some way, then I’ll give it a thumbs-up review, if asked for one. I don’t mind a few missed commas, a few repeated expressions, a few sentence fragments or any of a number of other infractions of the wordsmith’s art. As long as it doesn’t stop the read cold, with no hope of a rescue, I can usually enjoy the most basic of stories. If the characters are honest and not made of cardboard, I can forgive a great deal. I may not even notice, if the reading carries me along comfortably or clinging to the edge of my seat. Even if it’s a road I’ve traveled before.

On the other hand, I’m no masochist. If a read has me spending too much time questioning what’s on the page; is so full of glaring errors my eyes can’t leap over them, or if the story is a market-contrived exercise in trending (where the hell did that word come from, anyway?). I’ll put the book down, generally never to venture there again. One thing I’ve noticed is that my own reject pile is usually comprised of  “blockbusters” from major publishing powers… not from Indie Authors’ work.

In fact, the frequency of my disappointment with highly touted commercial releases has resulted in my almost never buying books from the biggest commercial success story authors. I can think of two right off the top of my head (they will remain nameless) who consistently lose me within the first two pages. One of them, on page one. Really. I actually liked all of Dan Brown’s books for example, but nothing kills a read for me as fast as a formula novel with trendy characters. Can’t do it. Never will.

But if you’ve written something with an original spark, in a subject area that interests me, with characters that have lives of their own and a sense of place throughout, chances are I’ll give you a glowing review. Missing commas or not.

Editing Note: a week or so after this was posted, a respected editor friend of mine reminded me that trolls generally don’t sew discord, but sow discord, as in broadcasting the seeds of discord. I must have thought discord was some kind of new fabric. I know that trolls generally have to create their own wardrobes, as Ready to Wear sizes are not usually available to cover their humps. Must have been thinking of that…

 

Nov 28 11

Our Seasonal Obsession…

by Richard

I just spent the first of what will be several days’ labor, blowing, raking and bagging up fallen oak leaves. It’s Fall. It’s what we do in the Fall in the Northeast. I don’t really know why we do it.

Cleaning up the leaves, which after November put on a beautiful show of color, is arguably a more revered National Fall Pastime than football. Getting them all up every year until the yard is spotless takes a great deal of work, or money, if you hire people to do it for you. But it is eventually finished. Still, I’ve heard over the years that this is purely an American aberration. It raises eyebrows and is the basis for humor all over Europe. A crazy American occupation. Cleaning up leaves? Really?

When I was a boy of seven or so, we lived in Eastern Washington State, where there weren’t many leaves to fall. Few as they may have been, my father would use up a Saturday or Sunday with rake and bushel basket, getting rid of every last one that fell upon our collection of weeds and yellow crabgrass. Once he told me I was going to help, I wondered what the big deal was. I even asked him once.

“Dad, why do we have to rake up the leaves, anyway?”

“We have to catch ‘em before they get away! Because they’ll blow all over the neighborhood and if we left them and they didn’t blow around, they’d kill the lawn.” He’d answer without looking up or loosening his grip upon the bamboo rake. The answers varied every year, but were sufficiently similar that eventually I quit asking and just got on with it. Of course, that didn’t mean I ever stopped wondering.

Once I grew up, sometimes Fall would find me in an apartment, a dormitory, or so far out in the country that it didn’t matter if either the lawn died or the leaves blew around. Later, as I became a homeowner, feeling the acute pangs of guilt peculiar to the American Suburban Male each Fall, I’d grab the rake and do my citizenly duty.

Eventually, my arsenal of weapons against the unsightly onslaught of red, yellow, brown and orange included several different shapes and sizes of rakes, a variety of bagging devices, huge grabbing claws for my hands as well as ear protectors and a gasoline fueled blower. The blower spewed out both high decibels of annoying sound, but also tons of nasty hydrocarbon emissions. I often wondered while re-fuelling up for another offensive push, if it really helped, or just added to the work. In either case, my Fall ritual endured.

Of course, one of the primary pressures were the dirty looks I’d get from neighbors. I seemed to be the only man on the block who waited until all the leaves were down until I began bagging them up. My neighbors would glare at leaves blowing down the street, clearly my fault because of my procrastination. This was one rule I still refuse to break. I won’t rake until they’re all on the ground. It has occasionally meant scrambling fast when an early snow threatens to turn the entire job into an operation for heavy equipment, but I get by.

But I still wonder why we do it.  For the lawn is no answer for me, as we live under towering oaks and what little light gets through each Summer will not support grass except the crab variety, so that’s not it. Each Fall, Americans all go forth to do battle with the leaves that they enjoyed all Summer long, even feeling happy and hopeful when the earliest Spring buds break open. Almost as if in denial about the struggles to come just a few months down the road.

We Americans have a unique history among descendants of the European languages. I’m a lifelong student of history, so there must be a clue in our past, as to why we must eradicate the fallen leaves each year. Something beyond the fact that a clean yard looks nice. Why does it look nicer? Why do we even want a yard? A lawn?

. Certainly there is nothing genetic in our desire for a spreading expanse of unsullied, uniform green around our habitations. I’m sure that the earliest people were just happy to find a place to live that wasn’t too far from water and game. Leaves fell each year then, too, but no one, I’m sure, took the time to rake them up into piles to clean up around the cave.

I believe that when Americans did away with blood royalty and inherited nobility and rank, we led ourselves into odd patterns of behavior that allowed us to mimic royalty without actually bowing to it. Once a family had a home – a man’s castle, after all – they could begin to add the trappings of royalty, assuming they could afford the improvements. European Kings, Land Barons and Nobles’ homes usually featured a broad expanse of grass around the perimeter of their estates, nearest their actual dwellings. Trees and their clutter were usually kept well away from the walls. No bushes or shrubbery were allowed to encroach too close. There must have been a reason for this.

There were actually a couple of reasons. First, came the domestic animals. Kings, Barons and Nobles usually owned a lot of these, and they needed a lot of grazing land. It was always preferred to be able to see all your animals from your home, as they were the wealth of the day, subject to predation and theft. The best castles had their pastures right up against the walls. The grass would grow all Summer and the horses and cattle would keep it mowed. Clipped and neat, except for the piles of dung.

As Kings, Barons and Nobles got richer, they found they could expand the pastures well off from the walls to minimize the stink of the livestock, but there must have been a reason they still wanted grass near the manor. That reason was enemies. It was very hard to sneak up upon an enemy’s home if there was no cover, nothing but short clipped grass right next to the house itself. It gave those safely inside a nice, long, unobstructed view in every direction. By the time someone had crawled up close enough to be seen, they were usually within the range of the archers atop the walls.  Grass meant protection. Protection meant status. Status meant more wealth, and so on.

As Suburban Americans, each year we have the unique opportunity to rekindle our need for the trappings of royalty. While the large-screen TV has replaced vast livestock holdings as the key to status, our carefully clipped lawns – meager as they may be – still identify us with the safety and status of royalty. We may have to slave against the very forces of nature, but in the end, we’ll rest for a moment against our rake, or sit on our front yard bench, or porch and marvel at the beauty of our work. Proud of the accomplishment. Important work.

That is, until a stiff breeze brings our neighbor’s leaves over the fence.