My treadmill: an oldie but a goodie

Book 1, Standing Stone Series

• An idea would come to me. I’d sit down and
  write. Then stop where my idea ended.
• I’d lay down on the couch and think about a
  question, such as “How is he going to deal with his daughter’s unwillingness to talk to
  him?” Fifty percent of the time, this resulted in an unplanned nap.
• I would have a title and a vague notion of how
  the character was dealing with a situation or causing a situation 
•  I’d sit at the computer and hope more words were
  going to come soon
• I would develop when I redrafted, slide in side
  stories and look for inconsistencies
• Writing a novel was a yearlong process
• No cover
• A working title (very much subject to change)
• Ill-defined characters, setting and plot that took a lot more work to develop and clean up
• One novel at a time
• One book a year and a full-time job

• An idea comes to me. I get on the treadmill and walk (fast and on
  an incline: don’t want you thinking this is a walk in the park ) and
  hash out the idea, Socratic method.
• I write through the developed scenes (after that
  visit to the treadmill)
• Title, character with backstory and fully-fleshed
  appearance and behaviors. Distinct main conflict and side conflicts. 
•  I’m at the computer to write, not sit
• Development occurs in process, daily, a much
  more recursive process that results in a better first draft
• Redrafting occurs daily and is more about layering in deeper
  description, searching out inconsistencies, clarifying, and copy editing in an
  ongoing approach (more about this in another post)
• Writing a first draft of a novel takes a month
  and a half, average word count 90K (summer time writing – six months during the active school year)
• A cover (changes subtly over time, but the main
  concept is set)
• A title (still may change but rarely) 
• Well-defined characters with greater depth,
  setting is full of sensory details, the plot is organized and part of a greater
  series
• Three novels in development and linked together
  by plot, setting or characters
• 3+ books a year and a full-time job

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Just a few weeks ago, I decided I needed to shift to another writing project. My contemporary novel, Joanie and Friends, had hit a wall. I was writing, but it was failing to feel original and authentic, like I was just dragging the words out of my characters.

So I remembered an outlined set of rules for a story about magic. It had been bubbling up in my mind frequently, and I would run through my ideas but not put a word down and remind myself I already had Joanie’s story to tell.

But I remembered that I often write on several pieces in different stages: rough draft, cleanup draft, final draft, and final edit, bouncing back and forth feeling very invigorated by the multi-action writing.

My box set of time travel books 1 -3 of the Students of Jump was published along with the fourth in the series late last year. I had run through all my work and had thought delightedly that Joanie would more than fill my time and would benefit with being the only work on my mind. With three narrative voices, it seemed very practical. But I hit that wall at 18K words. I cringed every time I sat down to write. Who would I pick on this time to continue the story?

But back to multi-writing. I reread my notes on that fantasy short story and felt compelled to write. Some 40K words and 5 weeks later, and I have the first half of a novel drafted (not a short story anymore) and a good sense of conflicts and characters figured out. I haven’t felt any impetus to return to my previous WIP and can only suppose that it just wasn’t ready. Standing Stone, the working title of my current roll, seems to have a steady stream of words each night. My average weekly rate is 7K.

When Joanie or Mathilda or Colleen speak up, I’ll stop and listen and write if they have something strong to say, but for now this bit of writing magic is flowing nicely. Maybe knowing there is something else I can turn to is part of what is making this roll so well; the demand that there be words to type isn’t strangling me. Rather each morning more of the story comes to mind, and by the time I am home from work, the next scene is ready for drafting.

So my choice to shift from my contemporary novel and answer the call of a seemingly simple short story about magic was a good one. I’m looking forward to writing every night.

So have you had to pull back from what you thought was a ready-to-go novel and found yourself immersed in an unexpected backup? 

The post When the story won’t speak, pick up another tale first appeared on L. Darby Gibbs ~ Author.

I read an article about the various distinct cultural nations within the United States and found it very useful for determining the underlying influences of characters in fiction. In this article which made use of the work of Colin Woodard, Matthew Speizer provides (This map shows the US really has 11 separate ‘nations’ with entirely different cultures) descriptions of the type of people who live in specific areas in the US and what their political/cultural viewpoints are built on.


At first while reading it, I was focusing on identifying where I fit in the demographics described. It wasn’t hard to figure out. I’ll give you hints and let you pick my niche: born below the Mason Dickson line, but raised into my teens in northern New England, I then lived several years in Oregon after finishing high school in California. My adult life was largely in the Northwest, with southern influences. 

Now that I’ve written it down, all I can say is good luck with locating my cultural position within these described “nations.” I might be harder to label than I first thought.  Blame my dad who never seemed to be able to stay in one place very long.


But my point is how great is this for determining the underlining influences for character building and interaction. Imagine a “Yankeedom” having to rebuild a demolished world with a “Greater Appalacian.”  Utopian leanings vs very constrained. The conflicts are built into the individuals and the “cultures” they bring with them.


How about a (space)ship’s captain with “el Norte” sympathies with a first officer who’s a “Left Coaster.” Plenty of room for common ground and still areas where the two would argue specific issues of “expression,” “exploration” and regulation.


In my SF time travel novel (book 3 of Students of Jump), Next Time We Meet, Mick Jenkins is largely Greater Appalacian. But the society he is now trying to make a home in is New Netherland in many respects. He wants order where they encourage a general “go with the flow attitude.”


I can see these “culture” breakdowns of political viewpoints as one more useful tool for building individual character behavior and interactive conflict between characters. As you design characters, consider where they fall in these niches. Support the influences with attitudes, heritage, and biases that add depth to the individuality of your characters.  

Follow the link to the article and take a look at it yourself.  11 Nations of the United States.


Do you see any of your characters falling under these cultural labels? If so, which character, which story, and what qualities most standout?


#culture
#characterization
#writing

The post Use these 11 “nations” of the US to create depth in the characters you build first appeared on L. Darby Gibbs ~ Author.

I recently watched a TED talks video, Amy Cuddy’s “Your Body Language Shapes Who You Are.” As a teacher, I understand the dynamics of body language. I read my students’ body language all the time and modify my approach to match or alter their attitudes so the class runs smoothly and achieves my intended goals for learning.

Watching this video brought to mind that this approach to body language relates to writers and how we do what we do.

The obvious connection is how our characters respond to given situations. The postures we describe our characters holding tells a lot to our readers about how the character is feeling about the situation. Do they expect to win or lose? Are they going to fight or run? Do they like the people they are with? Which ones more than others? How is the day going so far?

When that described posture is combined with narrative evaluation or internal dialogue, we end up with contrast, support, and definition.

Every writer makes use of body language.

But what about the writer as writer? How does a writer adjust his/her posture for power and confidence, raise testosterone and lower cortisol in the other aspects of being a writer?

I have read numerous descriptions of writers as shy, quiet, non-social, and insecure people. We present big, but in actuality lack confidence in being writers. I don’t know if that is true since fifty years back the typical writer was often viewed as a heavy drinking, loud, drug taking, know it all. Were they faking it?  Were they, to paraphrase Cuddy, faking it until they became it? Everybody is “coming out,” so perhaps authors are too, and maybe we really are totally insecure. I know I am a shy person who has a teaching persona my students often describe as demanding. Being a demanding person would not work for me as a writer. And I am not interested in following the drinking, loud, drug taking, know-it-all approach to ensure my “writing persona” is strong. So how can we use Cuddy’s ideas to present a strong writer posture in our writing endeavors?

Here are 8 ways to use Cuddy’s ideas to strengthen our writing posture.

1. Before you start writing, take that power pose — hands on your hips, feet shoulder-width apart and chin just a bit above parallel with the ground (called the Wonder Woman for a reason.) You should hear the theme: “Wonder Writer, Wonder Writer” playing in the background. Do this before you sit down to write that post, chapter, poem, etc. 
2. Unless, of course, you are trying to write a downcast character and you are one of those writers that act out your characters as you write — so a low confidence pose would be good to start with: shoulders curled in, arms down and held close to the body clutching the torso or neck protectively — gather a sense of what that feels like and then power up and sit down.
3. Going for an interview: written, audio, video, in person — first stand up, raise your hands in the air and shout (or whisper very loud) “I’m being interviewed” like it is an Emmy award you’re receiving. Now go show them your stuff.
   
4. How about that important phone call: Power pose it. By the way, according to Cuddy you have to hold this pose for two minutes. Now pick up the phone and make the call.
5. About to upload your formatted eBook:  Walk around larger than life, take a stand in the middle of the room, power pose. Now go upload that baby. It’s ready to face the world.
6. Putting together a proposal to an agent? Feeling daunted by the task? Time to power pose. You got this. Now write that proposal.
7. About to edit your fully drafted novel? Definitely time for a power pose. This is the second most common time for low confidence in the writer. (For me, number 4 is the number one low confidence time.) You’ve put in all this work and now you’re saying it is done and ready for clean up. 
8. Did somebody just say, “I hear that you write”? Get big, take up space — chest out, arms a little away from the body, chin up a bit or go for the power pose. Remember that’s hands on hips, feet apart, chin up. “Damn straight, I’m a writer.” Yeah, that’s asking a bit much for me, too. But it would give me a rush of confidence, enough to say. “Yes, yes, I am.”

It’s been nice having this little chat. Consider following me, tweeting this post, checking by again. I do occasionally …. can you give me a couple minutes….  Okay, I’m ready now. So you enjoyed this post. Follow me, Tweet my post, come by each week and you’ll find something valuable in my  writings to take away with you. I challenge you to check out my earlier posts. Yeah, power posture.

#powerposture
#writing
#confidence

The post 8 Ways to Strengthen Your Writer Posture first appeared on L. Darby Gibbs ~ Author.

No story goes along smoothly for the main character. In fact, how they respond to adversity is how we get attached to the people in the novels we love. If they don’t struggle to get what they need, we won’t want to read to the end. There are innumerable ways for conflict to occur in a story.  I’ve listed the 75 I’ve come across in my or another author’s writing.

1. Everything has been working fine, until now.
2. The best friend is disloyal/undermining/lying
3. They aren’t his parents
4. The power goes out
5. The car beaks down
6. What she thought she knew is wrong
7. Injury
8. Attack
9. Not everyone made it to the agreed upon site
10. What was safe once is no longer safe
11. Supplies are lost or stolen
12. Weather change
13. Ambush
14. The character’s arrival is expected
15. The character’s arrival is unexpected
16. Sibling jealousy
17. Paralyzing fear
18. The parameters are changed
19. She refuses to go
20. Misplaced information
21. Locked door/cabinet/safe
22. Locked out of the city/house/business
23. Sabotage
24. Time is running out
25. He gets lost
26. Incorrect assumption
27. Malfunction
28. Loss of food supplies
29. Dangerous terrain
30. It is believed impossible
31. House burns down
32. Loss of parents/family
33. Loss of faith
34. Poison/illness/plague
35. Arriving late/early
36. Flight/bus/train cancelled
37. The store is closed
38. Misplaced keys/ticket/passport/spell/identification
39. Difficult terrain
40. Battery runs out
41. Old injury/illness flairs
42. Toothache/pink eye/infection
43. Curiosity
44. An immovable object
45. Prejudice
46. Mugged
47. Lost luggage
48. Missing vital ingredient/material
49. Lacks a skill/knowledge
50. A telegram/email/missive/letter
51. Inheritance
52. Loss of fortune
53. Ostracized/disowned/ignored
54. Waking up to a major change
55. Loss of memory
56. A misunderstanding
57. Death of a loved one
58. A major decision
59. Uncertainty
60. Phobias
61. A tool/skill/talent/gift has special powers, but the character can’t figure out how to work it
62. War
63. The craft is spinning out of control
64. The world is coming to an end
65. The phone/communication device goes dead
66. Someone has released the dogs/lion/critters with unfriendly intent
67. Things just don’t look/smell/feel/sound right
68. The other character would not normally say that
69. An unfamiliar vehicle has parked outside and the people in it appear to be watching the house/business
70. S/he won’t/doesn’t answer the phone
71. Heart-broken
72. Lack of confidence
73. Impatience
74. Tied up/trapped
75. supernatural/unnatural change of self/enemy/friend/general population (i.e., Zombies)
UPDATE to list provided by Marcy Peska.
76.  curses and other magical obstacles 
77. trolls
under bridges
78. gastric distress from eating too many
sugar-free candies
79. small and uncooperative children
80. hobbits too
interested in mushrooms and second breakfast
81. abrupt changes in mental
status/consciousness
82. being unable to act effectively due to being
grounded or having to go to work.  
83.  Oh…and having a small bladder which requires frequent bathroom breaks.

If you are a writer or a reader, you are aware of many conflicts that characters have faced. What  conflicts have your favorite characters faced? What other conflicts can you add to this list.

#conflict
#plot
#writing

The post 75+ Ways to Make Things Tough on a Character first appeared on L. Darby Gibbs ~ Author.

A few days ago I went to a band camp concert. My daughter was one of the players. As I sat there listening to the rising and falling notes, flutes coming in as clarinets drop away, background drums rolling in crescendo and tubas filling the brief spaces in between, my heart racing and relaxing with each movement, I realized that a good book is much the same.

The opening lines just like the first notes played introduce the vision: science fiction with electronic tones, romance flutes of the first attracting glance, Bronte storms in the kettle drums, piano-keyed mysteries or an oboe lilt of a cobra rising from the basket of an Agatha Christi novel. Each rise in the action another movement to thrill the reader.

The middle movements fill us with ideas, emotions, connecting us as a group to a single vision.  And the final notes, whether sudden and thrashing or softly fading away, give us a sense of closure and completeness.

Writers, like conductors, construct a story with the instruments at hand. We have our characters, imagery, setting, rising action, inciting event, climax, pacing and conclusion just as they have their woodwinds, keys, capriccio, adagio, brass, cymbals and the like. We create an experience, one the reader/listener wishes to experience again and again.

Sitting there caught up in the music of the moment, a part of me felt the desire to race from the auditorium and compose my own worded score, to put into words the images that floated before my eyes in response to the pull the music gave to my imagination. But the other part of me wished to remain to listen as my daughter and her fellow musicians crafted musical stories in my head.

Learning to play an instrument is as essential as learning to write. Not all of us will be great musicians any more than all of us can be best selling writers. But all of us need to experience the attempt to make music, write poetry, paint a picture, sculpt a figure, or crochet an afghan. From each experience we gain much and, on occasion, find beauty to inspire others and be inspired.

What inspires you? 

#music
#writing
#inspiration

The post We gather the music of words to create a story first appeared on L. Darby Gibbs ~ Author.

Getting my logs in a line

I visited +HannahHeath’s blog recently and read her great post on writing loglines for novels. It galvanized me to work at mine a second time. So here’s my loglines for all my Student of Jump books.

In Time Passed, Students of Jump Book 1

Logline: An accidental inventor of time travel
takes his desire for anonymity back 200 years, but his struggle to live as an
average Joe demands he accept the expectations present at his birth and use
them to recreate society and put into motion what he jumped into the past to
avoid.

No-time like the Present, Students of Jump Book 2
Logline: The abandoned daughter of a time traveler takes
her skill of testing prototypes to their breaking point and applies it to a
time jumper sent to check on her, convincing him he must take her forward in
time to demand answers from her father whose guilt for leaving her and devotion
to her dead mother is both less and more than she could have expected or
imagined understanding.

Next Time We Meet, Students of Jump Book 3
Logline: Recently trained to travel in time and set to
take a honeymoon in the past, an anachronistic building contractor and his
quick-witted wife find the leisure life lacks challenge, so they take on locating
a missing and notably annoying physitech, placing them in the cross hairs of the
kidnapping entity as they jump through time chasing clues of uncertain reliability.

That’s the Trouble with Time (publication date sometime this summer), Students of Jump Book 4.

Logline: When a student of jump taking his first
solo time traveling assignment meets up with a determined renegade fighting
the world government for freedom from oppression, he finds losing his jump unit
is just one problem he has to fix, quickly followed by how he can protect his
heart from being the next thing he loses, especially when she keeps throwing it
back at him.

Follow this link if you are looking to revamp your own loglines and need a refresher course.
Hannah Heath: How to Write an Awesome Logline for your Novel

#writing
#loglines
+HannahHeath

The post Exercise: Writing the logline first appeared on L. Darby Gibbs ~ Author.

Creativity is best when the appetite is wet.

I have already said that teaching encroaches on my writing time.  Remember the movie The Thing? That is the life of the English teacher: pursued by an engulfing pile of stuff.  The teaching thing just eats everything up.  So I need every trick in the book to take advantage of my writing opportunities.  My most often used technique is anticipation.

•  Work taking over  your life and it’s been more than a month and you haven’t written creatively in weeks? What do I do?  I start with little self talks.  “Thanksgiving is just a few more weeks away.  Keep your grading up to date. Don’t overload the kids ’cause that just comes back and bites off another chunk of your time.  Keep it steady and high quality, but keep it under control so Thanksgiving, Christmas, Spring Break, SUMMER! will all be yours.”
• Weekly overload? I grade everything I can Friday night, having promised that Saturday will supply a slice of time for writing.  Then I am back on the grading, planning, prepping mode come Sunday, ready for Monday. Plug in any huge “thing” you want into the spot labeled “grade.”
• It’s getting worse instead of better? When it is an especially hard year, which the last two have been due to changes in education objectives and focus, I can go nearly an entire school year without more than ten hours of personal writing time in ten months.  So those days of summer become a mantra of anticipatory excitement. 
• Use all non-work time that can’t be given to writing time to brainstorm time. I use the moments when I can feasibly say I can’t grade, teach, plan, prep or do anything house related or family related to brainstorm and review scenes.  That means showers, the fifteen minutes before I fall asleep, putting on makeup and doing my hair, running on the treadmill, vacuuming, etc., are for thinking about what I am going to write when I get the chance. The idea is you have everything ready to go when the time to write finally comes.  You’re excited about writing because you know exactly what you are going to do. It will practically type itself.
• Carry the image/scene/dialogue everywhere you go. Sure this may mean you never talk in the car when your partner is driving. They get over it. My husband has. I am quiet in the car whether its twenty minutes or two hours, but my mind is not. I am revolving the scene over and over looking for telling details, foreshadowing that can be slid in, characterization, and what else can be carried by the scene other than the original idea that set it off.

Next week: how to make multitasking your creativity work for you.

So how do you deal with the overwhelming activities you do to pay your bills and such to make room for writing?  Writers who write for a living are not allowed to respond.  You may smirk off in a  corner somewhere, quietly.

#creativity
#anticipation
#writing

The post Creativity: inspiration thru anticipation first appeared on L. Darby Gibbs ~ Author.