vmwales

When Is a Story Not a Story?

There is a particular short “story” (sometimes hilariously referred to as “a six-word novel”) that is often attributed to Hemingway (though almost certainly not his invention) that consists of only the following words: “For sale: baby shoes, never worn.”

This trifle of words is often lauded as being a masterpiece of flash fiction (which, to me, is an oxymoron). Now, I’m certainly not the first to point this out, but this bit of fluff is without any inherent meaning.

The only actual meaning contained in those words is that there are baby shoes for sale in new condition. Any meaning beyond that is given to it by the reader. And perhaps because stories are supposed to be about conflict, we assume the worst. A child who died not long after birth. A miscarriage, perhaps. An adoption that fell through. Or whatever. But those are all assumptions by the reader. There’s nothing in the piece that gives us any reason whatsoever to conclude any of those things, or anything else. Perhaps the shoes didn’t fit. Perhaps they were a gift for a friend, but were forgotten at the back of a closet and never given. Or any of a hundred other things.

Seriously, they were the ugliest fuckin’ shoes.

It’s all well and good to allow your reader some involvement with your work. There is no need for you to spell out everything in great detail. Once upon a time, a test reader of mine complained that I never stated what color eyes my protagonist had. “It’s important,” she said. “You can tell a lot about a person from the color of their eyes.”

Velcro? You’re joking, right?

Disregarding her obvious delusion, the fact was that there was no reason for me to state what color his eyes were. It had no effect on the story. I was perfectly fine letting my reader give him whatever color eyes they wished. Similarly, in most circumstances, I find it okay to let the reader imagine what sort of clothing my characters are wearing. Or what they like on their pizza. Or any of a thousand other things.

Leather!? You bought me leather!? I’M VEGAN, BITCH!

But the actual meaning of an event is rarely open to speculation. See, that’s my job, as a writer: to tell a story. I’m not here to write a puzzle that someone is to figure out (at least, not without giving the answer at the end).

Yet, that’s exactly what this piece does. It forces the reader to “write” the story, filling in the conflict themselves. But stories aren’t just about conflict. They’re about characters and how they change (or refuse to) due to the story’s events (or in spite of them). And there is no character, here. And that’s why I put “story” in quotes in the first sentence. Because it isn’t a story. It’s a scenario, nothing more.

Posted by vmwales in Details, Other Writers, Writing Process

WTF Is Speculative Fiction?

I describe myself as a “speculative fiction novelist.” Says so in the header of my website and on the banner that adorns my table when I do appearances, so it must be true. But evidently, it confuses people. So much so that I’m sometimes referred to in press as a fantasy writer or a science fiction author. Neither is quite accurate, though not exactly wrong, either.

This should be on everyone’s car, since we’ve all been there.

So what is speculative fiction? I can’t say it any better than Wikipedia:

“Speculative fiction is an umbrella term encompassing the more fantastical fiction genres, specifically science fiction, fantasy, horror fiction, weird fiction, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history…”

So far, I’ve hit three of those groups: fantasy, dystopian, and superhero. And actually, my superhero series, The Many Deaths of Dynamistress, could also qualify as alternate history. I suppose in another ten years, my dystopian future book will also qualify as alternative history.

Some of you may have noticed that it says Science Fiction on the spine of the first Dynamistress book and on the back above the bar code. That’s because those codes (called BISAC codes) are pre-set by the Book Industry Study Group. They don’t have a listing for Speculative Fiction. And when Reckoning was nearly ready for publication, they also did not have one for Superheroes (though they do now, probably due to the email I sent them). So I had to choose between Fantasy and Science Fiction. I chose the latter because there’s a good bit of solid science in it, even though it obviously can’t give the results I chose. It’s really Science Fantasy, I suppose. But that’s not an official category, either.

Such is the ongoing quandary of the Spec-Fic writer. We often cross genres and have to pick one to use as a label. That’s why so many of us latch onto the Speculative Fiction label. It fits better, taking into account the mixing of these similar genres.

Not that kind of… oh, never mind.

So why do I write this stuff? Probably because it’s what I grew up reading. I’ve loved comic books ever since I was little. When I was thirteen, I discovered science fiction. A few years later, fantasy. For a long time, that was pretty much all I read, so it only stands to reason that I’d want to write it, too.

My first writing professor in college complained that my short stories, while serious, had a strong element of “popular” fiction in them. He apparently considered this to be a bit of a flaw. That’s okay, because I considered him to be a bit of an idiot.

It’s entirely possible to write “popular” or “genre” fiction that goes beyond the common expectations, to be “serious,” to make people think. And that’s something my table banner also says: “Fiction that makes you think.”

I like challenging peoples’ norms, pushing them outside their comfort zones. And Spec-Fic seems to contain the ideal set of genres in which to do this effectively, while also being entertaining.

And that’s why I love it.

Posted by vmwales in Genre

Get a Job

I often joke that writing is less a hobby and more an affliction. Many writers will tell you that they feel compelled to write, that if they were no longer able to write, their heads would explode or something like that. In truth, it does sort of feel that way. So I guess it makes sense that a lot of (non-writer) people would ask me, “Why don’t you get a day job where you’re writing? Like for a magazine or something?”

I think I’d sooner beat myself in the head with a hot iron.

Apparently, that can be arranged.

I do love to write. But I don’t like being required to write something. It’s like being forced to read a book in school that you might otherwise enjoy, but don’t, simply because it’s required reading for a class. Besides, if I’m writing all day long for the day job, the last thing I’m going to want to do afterward is to work on my novels.

That’s the irony of writing professionally. If you don’t write, you don’t publish. If you don’t publish, you don’t make any money. And if you don’t make any money, you’re stuck in your dreary 9-to-5 for the rest of your life. So even though you’re writing what you want to write, you’re having to force yourself to do so with more frequency than you might naturally desire.

In the end, if I have to have a boss, I’d prefer it to be me. I’m my own worst critic, after all. And I can’t get into trouble for cussing myself out behind my back.

And I’m a real bastard.

Posted by vmwales in Writing Process

Why I’m Not More Successful

About a month ago, I appeared on a live TV broadcast of Good Day Sacramento. It was just for a few minutes, wherein I answered some fairly general questions about my latest book. One question, however, I wasn’t expecting. But I should have. Because it’s a question that non-writers seem to be obsessed with: What do you do about writer’s block?

I’m hesitant to buy this…

I have to admit that the question annoyed me. I wanted to talk about the book I’d written, or even just about writing. I didn’t want to talk about not writing. I handled the question well enough, I suppose, but I’d be happy if I never had to talk about it again.

People seem to think that writer’s block is the the writer’s main nightmare. They think it’s the result of running out of things to say. I suppose for some writers, that’s the case. But I think it’s more often the result of having too many things to say, the ideas getting log-jammed in your head. The problem is, therefore, not knowing which thing to say. I also think writer’s block is something that happens less and less frequently as you become a better writer, because you learn what to do when it happens.

So writer’s block is not an issue for me. It isn’t what has prevented me from being more successful. Nope. That would be because of one specific thing.

Marketing sucks.

I hate marketing. I don’t think I’m very good at it, and I don’t like taking time away from writing in order to promote. I suppose I’m just hoping for the sort of viral success that can only come by word-of-mouth. I know I have fans out there, just not enough yet to reach critical mass, where it’s inevitable that my work will sell well.

I guess it’s not too different from waiting to win the lottery. As they say, you’ve got to play to win. With publishing, you’ve got to promote to win. And just as I’ll happily accept any lottery tickets given to me, I’ll gladly welcome the efforts of volunteer marketing people! Any takers? For either?

Posted by vmwales in Marketing/Promotion, Problems, Writing Process

My Friend, Parke Godwin

I’m often asked who my favorite writers are. This has always been a difficult question for me to answer because I tend to think in terms of favorite works, rather than favorite writers. For most of my life, I was an avid science fiction reader. Unquestionably, my favorite sci-fi book was Frank Herbert’s Dune. In fact, the first three books of that series were my favorites. But outside of the universe of Dune, I didn’t really care for any other of Herbert’s work. There were some, though, whose works were almost all enjoyable to me. Robert A. Heinlein was one such author. As an actual writer, it’s easy to point out flaws common to most of his works, but he always entertained and his books were all page-turners. Outside of that genre, Tom Robbins is another favorite, though if I’m honest, I really have to limit that to his first five novels.

I don’t think it ever occurred to me that I’d meet any of my writing “heroes” in my life. Herbert and Heinlein were both long dead before I was ever published. I suppose I might one day meet Robbins, though it would be easier if I lived in Seattle. Then again, he’s not exactly a young man, anymore, so it’s increasingly unlikely that our paths will cross. And let’s face it, writers in general aren’t exactly gregarious creatures. They’re not the easiest people to meet.

But sometimes, life tosses you some coincidence. In 2005, I was attending the annual awards banquet of Northern California Publishers and Authors. The speaker at the banquet was Persia Woolley. I knew her name, though I’d never read her work. But I almost had.

Persia Wooley… a truly lovely person.

In my early twenties, I went through a period of being very into Arthurian legend. And one day, at a bookstore, I was deciding between Persia’s Guinevere trilogy and two books by Parke Godwin. In the end, I chose the latter, Firelord and Beloved Exile.

I knew Persia and Parke were friends, as Parke thanked Persia in the acknowledgments of one of his books. And as luck would have it, after giving her talk at the banquet, she sat next to me at my table. We struck up a conversation (she’s a warm and lovely lady) and I happened to mention my fondness for Godwin’s books. (Firelord, by the way, would be my favorite non-science fiction novel.) My novel, One Nation Under God, won several awards in that year’s contest and I gave Persia a copy of it before the event ended.

To my shock, a few months later, I received an email saying, “I’m about a quarter of the way into One Nation. This is one hell of a book.” The email was from Parke Godwin. Persia had given him the book.

Obviously, I was stunned that the author of so many books I loved, including one of my all-time favorites, was really enjoying my work. Naturally, I replied almost immediately.

We exchanged a number of emails and, eventually, met in person. Turns out he lived only about 40 miles from me. Over the next couple years, I drove up to visit several times, Persia joining us on a couple occasions. And throughout, we emailed frequently.

As you’d expect, we talked about his work a lot. I told him that Firelord was one of my favorite books of all time, and was stunned to learn that it wasn’t even a book he wanted to write. His publisher told him they wanted a King Arthur book, as they were currently “hot.” He told them he didn’t want to write a King Arthur book. But he did it, anyway. So the book I held so dear was, amazingly, not something that came from his heart.

Parke – or, Pete, as he preferred to be called – was a courteous and entertaining fellow, with a streak of wild Irishman, and I greatly enjoyed our talks. Persia told me once that Pete really enjoyed my visits, too, which pleased me, of course.

Neither of us were truly at our best during the time we were acquainted. I was in a creative rut and dealing with moderately severe depression. Pete helped me with encouragement and compliments on my work. I wish I could have helped him, but his problems were beyond my influence.

I do have Pete to thank for one pretty major thing. In 2009, frustrated with my day job and lack of financial success in writing, I enrolled in graduate school to become a mental health counselor. For a year and a half, I worked full time and went to school full time. But halfway through the degree, I was going a bit nuts. Because all my time was devoted to those two things. I had zero time for writing.

I emailed Pete and vented about this. He replied, “What do you REALLY want to do with your life? If it’s writing, go for it; if mental health, go for that.”

Days later, I withdrew from school and immediately slammed out a serious amount of writing on Reckoning. I wrote and thanked him for the advice… and for reminding me of who I really am.

What’s your excuse?

Pete wasn’t in great health, though. And as it continued to decline, my visits became less frequent. The last time I saw him, which was the first time in a few years, was in October of 2011, when Pete was one of the guests of honor at the World Fantasy Convention in San Diego. It was a heartbreaking meeting, in fact. His health had deteriorated badly, as had his memory. He didn’t recognize me, at first.

In 2012, largely due to his cognitive decline, he was moved to an attended care facility. And on June 19, 2013, he breathed his last.

I do wish I’d visited him more frequently. But I’m grateful to have known him at all. RIP, my friend.

Parke Godwin – An Irishman who loved Scotch.

And to all my readers, please do check out his works. The man was truly talented.

Posted by vmwales in Other Writers

I’m a Novelist (i.e., Researcher)

One thing many people don’t seem to think about… and, indeed, something many new writers don’t seem to think about… is just how much research can go into writing a novel. Research, many seem to believe, is reserved for non-fiction. But novels often require a ridiculous amount of research, too.

My novel, Wish You Were Here, is a sword & sorcery style fantasy. As such, most people wouldn’t think a lot of research had to go into it. And in truth, there wasn’t, compared to my later books. But one area of research that found its way into the book was herbology. All of the herbs mentioned in the book are real, and the uses depicted are, as well. The names I gave them, in many cases, are folk names for the actual herb.

Despite the name, it’s not what you think.

One Nation Under God required me to become a lot more familiar with Constitutional law than I had been. It also allowed me to use research on my own personal interests in topics such as intentional community, alternative education, and more.

But all of that combined is nothing compared to the research for my new series, The Many Deaths of Dynamistress. Just a few of the topics I’ve been diving into: human genetics, synthetic biology, a number of cool inventions from DARPA, acoustic weaponry, zero-point energy, and more.

Like the trauma pod.

My attitude has always been that in fiction – even fantasy, sci-fi, or superhero fiction – the more we pay attention to real science, the better the finished product. And the more we disregard it, obviously, the weaker the finished product.

It doesn’t matter how unbelievable your topic is. If you back it up with solid research, you can make it believable. Never assume that because you’re writing “out there” fiction that you can’t bring it down to earth enough to be swallowed.

Posted by vmwales in Details

The Value of Test Readers

One thing I cannot stress enough for writers is to have a reliable group of test readers who will tell you the unvarnished truth. And I don’t mean just one or two. Have as many as you can. (Of course, quality over quantity… make sure they’re good.)

Recently, I had one such reader go over my latest book. At least a dozen people had read the work or parts of it. So imagine my surprise when she mentioned something about the third chapter that no one else had. She made a comment about the actions of a pair of minor characters and I thought to myself, “Wow? How did she get that out of it? That’s not what I meant at all!” And since no one else had ever mentioned it, I was inclined to think she’d simply not read it carefully enough.

Wait, what?

But in reading over those scenes later, I could see how she came to that conclusion. And since it was most certainly not what I wanted any reader to think, I had to make some changes… in the process of which, I came to realize I’d overlooked something significant that needed to be addressed… something that may have been part of what caused this reader to come to the conclusions she did.

The irony here is that this chapter was one of my favorites in the entire book, one that I regarded as being as solid as could be. The reason, though, is that I knew exactly what I meant. But no one else does, of course.

Wait, what?

So have your cadre of readers. And take what they say seriously. They’re not always right. But then, neither are you.

Posted by vmwales in Editing, Writing Process

Actors and Writers

Two neighbors of mine (a couple) are actors. Last night, I accompanied one of them to see her boyfriend in the opening night of a new play. After the show, the two of them, plus the leading man and lady (who are also a couple) came to my place for drinks and socializing. It was great fun. They’re really nice folks, all of them.

But as we were sitting around the table, I couldn’t help reflecting on the differences in our creative fields. To be an actor is to be a team player. In preparation for a play, you rehearse with the rest of the cast. You support them and they support you. For the period of time when you’re involved with that production, you have a second family, almost. You form relationships that may last the rest of your lives. It is an art for the gregarious.

Gosh, we’re happy!

But writing is an art for the introverted. To be a writer is to be solitary. In preparation for a book, you research, by yourself. Your supporting cast is test readers and editors, not a pseudo-family. Interactions with them are not social, but professional, typically not in-person and usually brief. Writing is, ultimately, a lonely gig.

Gosh, they look happy.

I don’t know if introversion is a universal attribute of the writer, but I suspect it’s far more common than not, just as I’d imagine there aren’t all that many introverted actors. For those writers, such as myself, who are at times too introverted, having some actors as friends can be a refreshing, balancing, social outlet. I highly recommend it.

Posted by vmwales in Inspiration

Erase to the Finish

As a young writer, having been told how wonderful my work was since I was in elementary school, I developed the mindset that just about everything that fell out of my head onto the page was good, if not great. Beyond spelling and grammar corrections, and the occasional tweak here and there, I didn’t really do much in the way of editing.

My first novel was published more than eleven years ago, as I write this. And though I think the book still holds up pretty darn well, I certainly could have had a heavier hand when it came to edits. There are entire subplots that could have been extricated without damaging the story at all and doing so might very well have improved it. At the very least, it would have resulted in a tighter plot.

Hi, I’m Del! Get to know me!

I don’t know that I’ll ever be as good at cutting material from my work as I should be, but I do know that today I don’t hesitate to erase half a chapter if I don’t think it’s working the way it should. In the past, I would have tinkered with it until it was passable and called it a day. Recently, it’s been common for me to sit down at the computer, look over what I wrote in my last session, delete maybe a third of it, and continue forward. And I’m actually pleased by this.

If I could pass on only one bit of advice to young writers, it would be this: Praise can be a good thing for a young writer, but if we’re serious, we should never believe all of it. We must be our own harshest critics and never assume that what we’ve written cannot be improved by the judicious application of the delete key.

Posted by vmwales in Editing, Writing Process

Days of Coffees Past

A few years ago, I became enamored of Turkish coffee.

Black as hell, strong as death, sweet as love.

I had it at a nice little place here in Sacramento called Kasbah. Technically, I had what they call Cafe Berber, which is Turkish coffee flavored with cardamom and clove. I absolutely loved it and, before too long, started making it at home. Sadly, I’ve never made it, or had it anywhere again, as good as that first time. Including the cup I’m drinking right now, which, frankly, is definitely not my best effort. But then, it’s been nearly a year since I last made it. Probably because it’s a slow process that can’t be rushed, and requires undivided attention.

The third chapter of my forthcoming book includes a scene where the protagonist is introduced to Turkish coffee. It may just be my favorite scene in the entire book. I was thinking of this scene earlier today (which is probably why I felt the need to prepare a cup), especially with regard to the way the story is going now, nearly twenty chapters later. Those early chapters have a pace to them that is fairly relaxed. And that’s as it should be, since those chapters are of times long past, in the context of the book. They’re the necessary history leading up to “today.”

Past a certain point, that relaxed pace disappears. Events take on a more urgent tone. There’s less time for waxing poetic about beverages, for example. And I find I really miss those early chapters. I’m not certain why. If I put on my psychoanalyst hat, I might posit that I’m nostalgic for those chapters in the same way that I’m nostalgic for my own younger years, that I’m having a mid-life… not “crisis,” exactly, but… something.

Nostalgia was better in the old days.

I’m not under any illusion that my younger years were idyllic. Far from it. Nor were they for my heroine. But the times then did seem simpler, less stressful, and more filled with promise and hope. “Today,” both in my life and the heroine’s, is filled with… less pleasant things.

Perhaps what my life needs is to make more Turkish coffee. It won’t change my life much, but it will add a few pockets of peaceful pleasure. And perhaps I also need to put more of that into my current writing. It is, after all, meant to be my heroine’s memoir. The later chapters could use some more deep, sweet earthiness, too.

Posted by vmwales in Details, Plot, Setting