Friday Feature: Writing as Courtship – Timothy Savage

When Timothy Savage speaks of Davey’s Savior, his novel about a father and son, it’s with a passion which encourages the reader to pick it up. He uses that same passion in almost everything he does from caring for his own son to detailing the journey of Davy and his father.

I knew when I asked Timothy to write something, he’d present something marvelous…. and so he has.

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Revision as Courtship

courtshipCourtship is romance taken form. It’s where those thoughts and fantasies translate into actions, from the ordinary chocolates and flowers to those thoughtful gestures, everything from a caress of the hand to simple time spent in conversation, all taking place behind a barrier of uncertainty. You spend time with that special someone, you share meals and thoughts and feelings, you enjoy those little tingles that come from being in their presence, but you don’t yet cross into intimacy. Perhaps you’re old-fashioned, or imagine yourself as gentlemanly or ladylike; you save something for later. In any case, you’re not quite at that point of leaping into their arms with wild abandon.

That’s okay. Sometimes saving something for later is a good thing, even as you relish those moments together without quite sharing everything. It’s all driven by a simple truth: Courtship is a time for getting to know each other, and to be blunt, for sizing each other up.

In a long-term romance meant to last, you need to see them — and they need to see you — exactly as you both are. You need to see them happy, angry, confounded, upset, blissful. courtship2To see into their soul. To see whether it’s safe to make yourself vulnerable before blending your soul with theirs. To see your own flaws and those of your partner in clear focus, to get beneath the layers of what someone might project, and instead look for and grab onto those glimpses of truth beneath the veneer of attraction…

Wait a minute. If this is a column about writing for writers, why do I have romance on the mind? Easy. For writers, it’s like this when you’re about to embark on the process of revision. Many writers – myself included – feel a kind of anxiety, a hesitation, before diving into the process of editing and revision. You stare at your draft without moving, afraid to press a key or redline that sentence for fear of screwing everything up. It’s the same anxiety one feels before dialing that special someone for the very first time.

Writing — especially the art of crafting a book — can be thought of as a long-term romance with your story. And that sizing-up process, the very beginning of courtship, is an important first step in editing and revisions, too.

As an author, you need to make yourself vulnerable to your manuscript, to see it exactly as it is. To seek out those “warts and all” glimpses of its true nature. It’s the moment and author and manuscript test each other through presence, seeing whether they enjoy each other’s company after spending long periods of time together, or seeing whether they’d rather hide in the washroom and phone a friend for rescue.

But if you enjoy the experience together, if you enjoy spending that time and look forward to the next conversation, maybe it’s time to dig back in and read that manuscript as a reader would, as someone who’s not quite made themselves vulnerable to possibility of intimacy.

Personally, I’ve made a practice of revising “big to small.” What I mean by that is the act of seeing my story as a whole, of taking in the work-in-progress with all its flaws and foibles, sizing up its true essence, and determining what changes are necessary in a structural way to bring that story I’d envisioned into reality. Eventually I focus on smaller and smaller details; not story structure or overall plots, but the little touches that keep the reader enthralled. It’s a little like going from that first casual dinner to the first moment “alone together”; reach that level and it’s just the two of you in a dance, in the hopes of making it all work.

Revising “big to small” meant courting my other characters all over again. Looking at each of those peripheral stories in my manuscript with a critical eye, deciding whether they added to the central relationship in my book or distracted from it. Deciding which of those scenes were necessary, what worked and what did not. Deciding what should remain, and what could be safely relegated to a “cuts” folder for later consideration or swipe-left deletion.

courtship2In the end, after many dates with my manuscript that ranged through blind and awkward, rushed and too quick, exciting and anticipatory, intimate and ecstatic, the story evolved into better forms than ever taken before. I saw it for what it was, working through the small details, caressing each sentence and nuance until the story as envisioned came across as “meant to be.”

Revision is courtship. And courtship, despite the nerves and uncertainties and awkward moments, is fun. So don’t be afraid to dive right in. Swipe right on that revision. Hold that car door open, and bring along the flowers and candy for both of you. In the end, whether your revision succeeds or fails — whether the relationship with your manuscript lasts or fizzles during the courtship of revision — you’ll be a better author for having the courage to experience it.

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Noreen, thank you for the invitation to contribute to your ‘Friday Feature!’ Dashing off a blog post about writing is always great fun, and if it helps to inspire another writer or two, excellent!

Speaking of inspiration, I want to give a little credit where credit is due. The idea of ‘Revision as Courtship’ came out of discussions and collaborations with my dear, dear friend, writing partner across the pond, editor, and author of the 17th Century Midwives series of historical fiction novels, Annelisa Christensen. Her insights helped me to view revisions with something other than anxiety, and for that I am forever grateful.

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Thank you, Timothy.

You can find Davey’s Savior on Amazon

Tim’s Website – where you might find a little inspiration or even some help!

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Friday Feature: Submissions

This week for the friday feature, I thought I’d offer tips on Submitting.

Last year, I had 17 or 18 publications. This year so far, I’ve had maybe 9 or 10 acceptances. I must be doing something right.  submissions-photo-01

I think it should go without saying your work should be free of grammar and punctuation errors. I heard from one writer who was offended by an editor; her response: “I know I had errors, but they weren’t that bad.” – No excuses. Edit that work before you send it out.

First: Make a regular time to sit down to submit. This takes HOURS. It’s not going to be just a fifteen minute or thirty minute venture. You must read what the lit mags are looking for as well as how they want it submitted. Then compare it to what you might have already written, or what you’re willing to write.

Second: Keep track of your submissions. submissions1

Third: Accept rejection. (It tells me that I’m doing my job by submitting.)

Fourth: Accept criticism. You are going to get opinions. Just today, I received a rejection that said I repeated a word. That was the whole of their rejection. The word in question was repeated twice in the whole story, but I guess they didn’t like it. I moved on.

Fifth: If they ask for changes – agree (maybe). I’ve met many writers who take issue withsubmission this. They wonder if I don’t care about my work. They think I’m mad for even considering it. There are some things I won’t change. But, so far, the editors who have asked for changes have asked for simple things like rewrite this sentence, change this punctuation. No one has asked me to make major changes to any piece I love.

And Finally: Be considerate to writers, editors, and publishers in emails, on public sites, and anywhere you may meet them. When you act inappropriately, word can get around.

Publications Page

Amazon Page

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Writer Wednesday: Experience Vs. Research

Someone asked me if I write what I know. For many, that would be limiting. We write what we know in some intuitive way, like people, emotions, relationships, and some places. But that’s not all we write.catacombs

Nothing adds to a story like those little details that you’ve experienced, like the slick, moist, near sickly feel of your skin on a humid day in Paris after emerging from the chilled underground of the catacombs.

The difference in squeezing the smooth texture of black sand from Punaluʻu Beach in Hawaii between your toes and walking on fine, compacted white sand of the Whitsunday Islands in Australia.

blacksandEvery beach is just a little different. Just as the light is, depending where on the planet you stand. Being there helps.

But, research is also necessary. Maybe not to describe the sand between your toes, but other important details about place. Incorporating the general details or impressions as well as the smaller, more personal elements creates a more vibrant and more relatable to readers.

Stephen King thanked his research assistant and stated he met a lot of nice people in Oklahoma where his new book, The Outsider, is set. Experience and research.

Many of us can’t fly to Darrien, Washington and spend a week or longer researching a small town setting in the pacific northwest, but we are able to view maps, read the newspaper, follow the instagram sites, ask travel groups and even call the travel bureau in any given state.wander.jpg

I love experiences – Traveling and getting lost in a new place, picking up those sensual memories to infuse into writing and future!

Experience is a great thing, but it’s not the only thing. Research back ups and fills out details we may have missed.

Where have you been that you’ve written about?

Happy Writing!

Writer Wednesday: Napccident’s Happen

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Napccident: when a person rests their eyes

and unintentionally falls asleep. The napccident

may last anywhere from five minutes to two or more hours.

 

I read an article that stated mental and physical exhaustion are different and that those with mental exhaustion nap to re-energize. Writers are, sometimes, prone to mental exhaustion. We are excited by our writing, then we crash. Or, those days when writing is torturous, we want to crash.

Another article stated that naps are ways to procrastinate.nap

Both are true. I’ve rested to recover from a challenging writing day, and I’ve definitely taken advantage of interludes as a means of procrastination. However, when I’m excited about my project and it’s pouring out, I rarely pause. I even have a hard time sleeping at night because my mind is alive with story.

When I get stuck on a piece of writing, a plot point, a character, I use respites to help me overcome that difficulty. By being still and allowing my mind to wander within the story, the challenge is overcome.

Decide if your napccident is avoidance behavior and make it be productive for you.

In yoga, we set intentions. If you lie down or close your eyes to procrastinate, accept that behavior and set an intention to be more productive. It’s not the pressure of a goal or promise, but it’s an email to your unconscious to get back on track.

 

Happy Napccident!

 

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Writer Wednesday: Writer and Writing is a Relationship

heartI know people say writing is a commitment, but it’s more than that. Writing isn’t “like” a relationship, it IS a relationship. A writer must be involved with the whole process of writing, must love it, need it, want to continue to work to make it better. It takes commitment, time, dedication, and the desire to move forward in life with writing.

A few years ago, I was at a conference where the main speaker (don’t remember his relat 1name) said, “You have to be selfish. You must take the time for yourself, for your writing.” He went on to say he spent every Friday at a hotel with his writing. (are you picturing him checking into a seedy, no-tell motel with an old typewriter?;-)

My friend joked, “Noreen does this thing where she actually spends time writing.” My regular action became fodder for humor because he is a writer, but he falls under the category of non-writing writers like many others.

Life happens. We have families, pets, jobs, homes, tons of responsibilities. But notice that list – I put family first. People we love comes first. This is why a writer might consider writing as a relationship – so they give it priority.

I schedule things around my writing whenever possible. I will make doctor appointments, meetings, and everything I have power to plan secondary to my writing by scheduling them before or after my planned writing time.

Once a person considers themselves in a relationship with their writing, they may relat 3naturally form relationship goals! If writing were a romantic relationship, how would you handle it differently? Would you want to go to sleep with it or wake up with it or both? What would you want to give it? Would you spend more time with it, going over the details, working it out so it was just perfect, going over it and over it again to work it out nice and smooth? What do you do for your significant other? Take it out to dinner? On vacation?

Writing, like a lover, needs constant attention and nourishment. Placing it on the back burner means we may never get to it. It’ll be there, but not as warm and flush as we’d like. Being in a relationship with writing means the needs of both are fulfilled. Writing is fresh and flowing and continually improved and the writer is happier, more productive.

We do this because we love it, we are driven to do it. Treat writing like it’s important to you.

Think of writing before you fall asleep, when you wake up in the middle of the night just to say one more thing.

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West End – the opening chapter

Hi, All.  I was feeling West End today. I wanted to share a little portion, but couldn’t decide, so I give you all the opening selection for West End.  Enjoy.

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BEFORE MY MOTHER drank herself to death, I knew her as a gentle creature who fed wild squirrels from her hand.  On the back patio at mid-day, she’d stand very still, calm, peanuts laced in the fingertips of her outstretched hand. The squirrel, a female, her babies came later, approached with caution, across the railing, onto the windowsill, grab the nut, run to the other side of the patio where the squirrel peeled back the shell, ate the meat, then returned for another and another. For a while, the squirrels became my mother’s greatest pleasure.

When the female squirrel stopped coming, my mother worried, but the baby squirrels continued to visit. Then, the cubs must have grown, left the nest, because one by one they disappeared until only a single squirrel came to the daily meeting.

That winter, mother’s heart sucked itself dry. Familiar faces appeared, distant relatives, long-ago friends, who talked our concerns away with assurances for tomorrow and beyond.

“Little honeys, it will be okay.”

“I brought the eggplant casserole, green dish.”

“She was a wonderful woman.”

“Call if you need anything.”

Sarah and I stood at the door where someone’s aunt told us to stand. We pointed people who carried in food to the kitchen, guided people with flowers to the dining room, pointed the rest to Daddy who sat on the couch, gaze glued to the floor. We didn’t have to say anything, and no one asked.

The familiar strangers came and went and with them, our mother, our hopeless youth, our language.

The house became quiet. I couldn’t remember the last complete sentence I spoke or heard, couldn’t remember the last partial sentence I’d said to my father or he to me. My sister and I exchanged words, hushed, sometimes soundless breaths only we knew the meanings for. We lived our lives in half-words, pale sounds that sunk into the silence, in ideas of what we had to do next: breakfast, school, homework, laundry, dinner, dishes, bed. This soundless process became our lives; a strange off-balance way to live, but we did it for some months content not to break that pattern.

One cold February morning, a descending snowstorm blocked the roads, locked us indoors, kept us from going to school, our father from his work. Our first full day alone together in the house. Sarah and I sat at the painted brown kitchen nook picking at our cold Raisin Bran; the milk just tangy enough for us to question the freshness. A tapping noise brought our eyes to each other’s. Then silence.

“Wind.” Sarah exhaled with barely enough voice to make a sound much beyond the breath itself.

“Yeah.” My voice not much stronger. We returned to the cereal.

Tap…Tap…Tap…

Her gaze followed the floor to the sink, the counter, the back door.

“The door?”

I shook my head. “Nah.” Not today, at mid-day, in this storm. “Wind.”

I slipped from the nook; she followed. We stood, somewhat unnerved when the tapping came again. We could see through the glass in the door; no one stood there. I moved to the windows to get another view of the patio, leaned over, heard shuffling, then rattling against the window. We jumped. A squirrel clattered against the window, caused us both a momentary and laughable fright. Sarah touched my arm. We each took a deep breath. Our first that winter. The squirrel, the female or one of the children, we didn’t know and could never tell anyway, gave us a quizzical look, stretched up against the window; her little paws stretched against the glass. Tears welled. Quiet, unmoving, we held our breath, each other, tried not to let out the flow of emotions the winter built up.

Father’s footsteps, heavy on the linoleum, came toward us. We straightened.

“What’s going–”

“Shhh,” we both hushed him; his rough, dry voice might drive the squirrel away.

“It’s the squirrel,” Sarah said.

He looked puzzled.

She motioned toward the window. “The squirrels Mom used to feed. She used to give them nuts.”

“Well, give it some.” He waved his hands at us.

“Where are they?” Sarah pulled open random cabinet doors.

“I don’t know.” I opened the opposite cabinet doors.

“Well, look, look. They have to be here.” Father took to the drawers.

The three of us searched for a bag of peanuts Mother bought for the squirrels, hid from us to deter our snacking.

“He must be hungry.” Father gazed out the window at the back yard covered in snow. The porch railings, the powerlines, all draped in sheets of white; the squirrel, nervous, waited at the end of the banister. “Peanut butter. Get the peanut butter.”

“Will he eat that?” Sarah reached for the jar.

“Certainly,” Father assured us. “It’s peanuts, isn’t it?”

I grabbed for the bread.

“Just spread it on,” he said, more animated than I’d ever seen him.

We did.

“Wait, he can’t eat it like that Break it up.” He put his hands in the mess with ours.

Of course, we knew, but at the moment, that strange, unsettling, yet somehow comforting moment, we all needed to take part.

Sarah set the plate on the patio just outside the backdoor. The squirrel chattered, juddered its head from her to the door, the windows, its tail jerking back and forth as if with nervous jitters, then approached the plate, took a piece, and skittered back to the railing to eat it.

Dad ordered us away from the window. The little squirrel tittered, danced delicately, tail flitting, to take more food. We backed out of the kitchen.

Something shifted inside the house. The rooms warmed. The silence faded. The house took on old noises; the refrigerator hummed; the kitchen light buzzed; switches flicked with their old sticky clicks.

Our voices returned. We spoke more than mere sounds. We’d broached full sentences. But I don’t know if we ever surpassed that. We’d never been a family of paragraphs or stories. Laughter rarely rose to the ceiling. Now, with one of the speakers forever hushed, we were destined to be something less than complete.

Winter dissolved into spring; the strawberries mother planted last summer grew green, red, wild. We left nuts out all the time. Sometimes squirrels ate them; sometimes they’d sit until the birds got them or the ants swarmed them.

Sunrise reopened in summer, but never again did we hear our names called from the front patio as we walked up the street, never again did the light intonation of words follow us through the night, “not too late,” never again, upon our return, would we be met with a drunk asleep on the table with just enough consciousness to whisper “too late” when we passed through the kitchen to go to bed.

 

*West End is available on Amazon, Kindle, and Audible.

Coffee and your Character – Writer Wednesday

I’ve been thinking of coffee shops. And it’s not only because I’m a caffeine addict. Coffee and coffee shops are a part of our everyday lives and, therefore, our characters’ lives. What type of coffee shop and what they order will inform our readers of who they are in ways we won’t need to spell it out.

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I, personally, savor that first sip of morning tea. For a few moments, it’s the perfect temperature and I hold it close to my face, ready for the next sip as the first drips of bitter black tea warm my throat and my body, the caffeine going to work immediately to bring me to full wakefulness in anticipation of a busy day.

A friend described a man in her carpool who stopped every day at Starbucks for a large quadruple espresso latte on their way to work and on their drive back from work. But, she added, he also complained constantly about his budget. This told me a lot about the person in just a few sentences.

Does your character rush into Starbucks and curse the line? Probably orders ahead for pick up, but what if it’s not there? Or is your character the kind that seeks out the independent coffee shop because it may be less busy or just because it’s independent.

There used to be a coffee shop on Ventura Blvd between Hazeltine and Woodman. I don’t pinkremember the name, but I do remember the walls were pink. I liked it for it’s small town charm. Local home made jams lined the shelves behind me while local artists’ paintings adorned their walls. They only had a few wooden tables, a few more outside, and a few bar-type seats at the counter. Instead of the iced black or green tea choices at you-know-where, I opted for their daily choices, which might icled iced peach or raspberry-ginger. They offered an array of vegan or gluten free cookies as well. Who could resist?

I used this coffee shop in my story “Harvey Levin Can’t Die” (originally published in Pilcrow and Dagger Sept 2016). The story really is about change. How society reflects the harveylevincan't dieindividual and how the individual internalizes society. One of the characters worked there, but felt out of place. This also represented her life, she felt out of place and hadn’t really begun to make real decisions about who she was or what she wanted. But, of course, that changed and so did her involvement in the coffee shop and the guests as she becomes more proactive in her life. The reader is left to decide the interaction between her and society and whether the influence is good or bad.

It would have implied something different about my character if she’d worked at a chain coffee shop. The chain itself would have had an influence and been a foil. She wouldn’t have been able to grow and and the readers couldn’t see the change within the coffee shop itself; therefore, the setting was important in that instance.

Each place, each chain, is different. The people who go to the local Coffee Bean and Tea Leaf Company are different than those who go to Pete’s or even Starbucks. As writers, I imagine we’ve all spent time in these places. And our jobs as writers are to observe. Beyond the color scheme and coffee served, there’s a different atmosphere garnered by and at these places, and the people are different or act different.

I rarely see the impatient phone-bearing customers from the Monday morning Starbucks run at Pete’s. Nor do I see the more relaxed culture of the Pete’s “give me the multi-grain scone and flipped macchiato” at Coffee Bean.

1dollarstorysmashwordsI used another independent coffee shop for “$1.00 Stories” (originally published in The Chicago Tribune’s Printers Row Journal April – 2016). A mixture of independent coffee shops, one of which still squeaks by in the recesses of North Hollywood. I wanted a friendly owner and regulars my character would recognize. Not that he cared about them; it was more important for the story that they were familiar with Cris, and they accepted with good-natured-humor his occasional weirdness. I didn’t want to make him completely unlikable. I wanted him to come across as a little more complex, so he went to this coffee shop where he knew the owner and sneered at the community table while the regulars chuckled.

The joy I get from using independent coffee shops (or even invented coffee shops) is that I get to describe them, which will also tell us something about the character. In “Harvey Levin”, the character hated the pink walls. But using a chain also tells us something about the character.

Our characters are going to need caffeine at some point in the story. Giving the reader their choice of coffee shops, even in one line, gives the reader an insight into the person we’re creating.

Now my tea’s cold. But I don’t own a microwave and that never tastes good anyway.

 

Harvey Levin Can’t Die is available on Kindle and at Smashwords.

$1.00 Stories is available at Kindle and at Smashwords.

 

 

Not Writing is Not an Option: Rethinking Writer’s Block

I’ve been under the impression that writer’s block was actually procrastination; however, someone wrote recently “whoever doesn’t believe in writer’s block has never experienced the sheer frustration it can cause.”

This, and the comments that followed, made me reconsider my position on writer’s block.

Experts state that very few people actually experience the psychological issues that cause real writer’s block. That statement, and my observations of procrastination in action, have lead me to believe that most people who say they suffer from writer’s block aren’t actually suffering from deep mental disturbances but of more common problems that plague us all – distractions.

However, the advice this person received caused me to pause:

“Drink heavily.”

“Don’t force yourself to write, it’ll come.”

These seemed the least helpful. While I know there’s a stereotype that follows artists and writers – the best ones suffer, and suffer from addiction in many forms. I doubt very seriously whether getting drunk will help the person. And, if you don’t write at all, how will anything come?

Other advice went something like this:

“Just write.”

To which one person wrote a long response about the ridiculousness of this answer. I, however, disagree. When asked by my students “what if you get stuck on a part?” I answered, I go on to a different part, or I write something else. I usually have more than one project going at the same time. I know some writers don’t do this, and I understand their reasoning. At this point, it works for me.

“Go for a walk, do yoga, meditate.”

This is actually pretty good advice. Studies show going for a walk or exercise in any form can feed creativity. Yoga is meant to calm the energy in the body so one can focus and/or meditate.

Others said, “listen to music” or “write a character study.”

This could help. While writing one novel, I listened to blues and jazz to help me give the character depth and personality.

Finally, someone asked the person who’d posted they had writer’s block and needed a solution: “What’s bothering you?”

Now, that’s a damn good question. Most of my writer’s procrastination comes when some thing is bothering me.

The person’s answer was different than I expected.

“I can’t make the story go where I want it to go.”

OOOOHHHHH!

This is a whole different type of problem. I learned writing in two ways. One method was to write a formulaic story with beginning, middle, and the end in mind. Use an outline and stick to it. And I can do this. But it’s no fun for me. The second way I learned was to just write and see where the story wants to go or needs to go. Most of my writing comes this way. It’s natural, it’s organic, it’s unforced; maybe that’s why it flows.

Think of how much power water has. Human-made streams run over their banks, create their own pathways; in one way or another, they defy the path man made. Think of how much concrete and lead it takes to build a retaining wall to create a dam, and still they must have holes or release valves. How many still end up crumbling, breaking, or overflowing?

That’s what writing should be.

Ideas and words should flow. Let them live. Trust them. Trust yourself.

If they are dammed up, forced into an unreasonable plot or direction, then I can understand that type of writer’s block.

The advice offered for that was: “write the end, and work backward,” and “move on to another scene.”

This should probably work if the plot of the story is strong and the elements are all in place. However, the person maybe be stuck because a needed plot point is absent.

Before any solutions can be offered, the type of “block” the writer is facing must be addressed.  Is it really, “I’m stuck,” or is it “I’m distracted”? If there’s a phone in front of you, and facebook, twitter, or your blog open while you’re writing – that’s probably writer’s distraction. If the writer is stuck at a plot point, at a character arc, I’d suggest to meditate on it, sleep with it, think about it until it works itself out, but I also suggest skip ahead, write another scene, write that scene/character you tell yourself you’ll never use.

See – it’s still writing. NOT WRITING IS NOT AN OPTION. No one ever got better at something by NOT doing it. No one ever finished a project by not doing it. No one ever became successful by stopping what they were doing.