Author Archives: fictorians

Using Skype and Google Docs in Writers Groups

A guest post by Ryan English.

The best kind of writers groups are the ones that can meet in person, but there any number of reasons why that might not be something you can pull off. Perhaps members keep moving; perhaps it’s simply a hassle to put pants on and leave the apartment. Fortunately, there are pantsless options.

My writers group has been using the following for at least four years, perhaps longer. We started out a few years before that as a group that met in person, often at the Barnes and Noble, and that was going splendidly until people started moving away. We found that being able to verbally discuss each submission as a group led to a real improvements in our skill. We got a better feel for what worked and what didn’t because we were able to sit there and have a conversation about it. When it started to become impossible to meet in person, we needed something that replicated that dynamic.

We needed two things: to be able to have a verbal conversation, and we needed to be able to easily distribute and view texts. We use Skype because it has superior call quality. We’ve tried Hangouts a few times over the years and it just doesn’t cut it for us. Some of our members have bad internet connections and Skype seems better able to handle it. Hangouts is worth trying, though, because it is integrated right into Google Drive, so you won’t need two windows open. One other advantage Hangouts had was that group video calls were free, but Skype recently made it free as well.

For the texts, we use Google Drive because it is truly the ideal platform. Honestly, even if you’re meeting in person, the features you get in Google Drive are such that I would recommend everyone bring a tablet or small laptop instead of a printed page. It works like this: Whoever’s in charge or has been there the longest creates a shared folder for the writers group. Name it something obvious. Then invite each member of the group to share the folder. Make sure that when you add them, it says “can edit” on the permissions. For each meeting, create a new folder inside that one for submissions. Name it by the date of the meeting.

Then it’s time to submit and read each other’s writing. This is important: make sure that your members aren’t just dropping in a Word file—they need to be in the right folder, hit New, select Google Doc, and copy and paste their writing. Once it’s saved in a shared folder as a Google Doc, the entire group will be able to read it and comment. If it’s a Word document, several features will be missing.

When it’s time to meet, everyone opens the same document and can enjoy real-time collaboration. Each member viewing the document has a uniquely-colored cursor, and you can see where everyone is on the page. If one person highlights a paragraph, the entire group can see it immediately, which is tremendously useful for pointing things out. For example, I might say, “This sentence right here is weird…” and I wouldn’t have to explain where to find it—it’s highlighted. Just scroll down.

The second benefit to using Google Docs is the comment feature. Highlight a passage, right click, and hit comment. This works like it does in Word—a box is created on the side of the page that contains your comments. Everyone can see these, which means that six people won’t need to point out the same typo. I find that this is an excellent way to take notes during a meeting, as well; if I want to remember something, I highlight a word and leave myself a good comment about it to go back and read later.

Google will email you whenever a comment is left on a doc, which lets you know that someone reviewed your submission. This can get a bit spammy, but it hasn’t been a problem. It can be nice to know that someone who wasn’t able to make it to a meeting was still able to leave comments.

There’s another benefit to working online. Anyone familiar with writers groups knows that members come and go. People join, stick around for a year, and lose interest or move on. If your group is tied to a geographical location, replacing members is going to get harder and harder every year. But if you meet online, anyone in the world could conceivably be recruited. Also, it gets a lot harder to justify missing a meeting if you don’t even have to put on pants to attend, and consistently is the lifeblood of any writers group. I can’t recommend this method highly enough.

Ryan EnglishGuest Writer Bio:
Ryan English writes speculative fiction in ancient and classical world settings. He recently achieved his Masters in Political Science but works in IT because it pays the bills. He plays a number of instruments ranging from piano to didgeridoo to shakuhachi and studied Shaolin Kung-fu for eight years. He lives in Utah, where he can often be found hiking barefoot.

Novamind

A guest post by Katie Cross.

When you say ‘writing a first draft’, I say ‘massive splitting headache’.

Don’t worry, it’s my day job. #Igetawaywithit

Fortunately, I have a tool that helps me avoid and/or diffuse the headache of a first draft in the beginning teeth-grinding-stages of tension and angst.

*cue music*

Novamind.Software for Writers that Saves a Headache or Ten by @kcrosswriting

Novamind is basically mind mapping at it’s greatest. It’s an easy to learn, easy to use software that I’ve used since writing my first book to brain dump creative ideas and work my way out of plot holes.

Here’s an example: to show you the massive size that mind mapping can give. And don’t worry, it gets even bigger.

Software for Writers that Saves a Headache or Ten by @kcrosswriting

 

Let’s be honest, stuff like this can get pretty pricey.

That’s why I love Novamind5- because I installed the “lite” edition for free and it does everything I need: provides an endless backdrop of unexplored possibilities so I can mind map my brains out. You can pay yearly, or the upfront fee for all the bells and whistles, but all I ever need is a blank white screen and the ability to brain dump.

And . . . free.

Because what aspiring author actually has money, right?

When it comes to mind mapping, I have only one rule: No idea is rejected.

Even unrelated ideas are welcome and accepted.

Really, even the bad ideas are just another spider leg in a long chain. Maybe I’ll end up using it. Maybe not. But allowing my mind to be open somehow gives me permission to be creative, and that changes almost everything. It opens those closed doors of writing that make me say, ‘Uh . . . I don’t know where to take this story.’

Of course, I don’t limit mind mapping to just the computer. A good ol’ pen and paper while sitting in Starbucks sipping chai has never failed me either. But one look at my handwriting will tell you everything you need to know.

That whole doing-it-by-hand doesn’t last very long. 🙂

Software for Writers that Saves a Headache or Ten by @kcrosswriting

New to mind mapping? No problem. Here are a few other mind mapping websites/links that you can check out to get you started in the awesomeness.

How to MindMap your Book.

Different Mind Maps for Authors.

An Author’s Guide to Mind Mapping.

If you haven’t tried it out before, I’m telling you: you gotta try it. #butseriously

Next time you’re stuck on a plot hole, you don’t know what to write, or you need to add depth to a scene or a character, try mind mapping. Grab a paper, a computer, a chai, and sit back into a creative immersion.

Katie Cross likes cookies and mind mapping tools to help her write. #forreal @kcrosswritingKatie Cross used to be fond of gummy bears, but lately her tendencies lean more toward cuddling with puppies.When she’s not writing YA fantasy novels with kick @$%#*(@ females that don’t need a man to save them, you can find her at Starbucks.

World Building Tools

A guest post by Joshua David Bennett.

World BuildingIn fifth grade, I wrote my very first story about a raccoon space pirate named Bucky.  Way before Guardians of the Galaxy, Bucky was breaking new ground for raccoons, flying through space in his minivan with his best friend Raven, looking for treasure.

I was trying to recreate the wonder I had when I first saw Star Wars or read Hitchhiker’s guide.

For better or worse that story is lost to the ages.  But thirty odd years later, I still love the thrill of exploring a universe in my own mind.

This month on Fictorians we’re talking tools, with a focus this week on worldbuilding.   We won’t be going deep on principles or philosophies in this article.  For that, Writing Excuses has worldbuilding episodes that are relevant whether you are designing a  magic system, mapping nebulae, or even trying to fill historical gaps in 19th century Paris.  Perhaps the best advice from them is to stretch beyond your story’s core characters and conflicts to include everyday details.  If you can show how magic and science have affected even the ordinary, your world will be much richer.

The tools below can help.  There will be many.  Grab a coffee and make sure your browser can handle twenty tabs at once.

Starting Big

Assuming I already have a character and a conflict, my process always begins with setting.  Yours may start elsewhere.  I need evocative scenery for the characters to play in, and what scenery is grander than the final frontier?

If you’re writing a science fiction, the tools below can help you populate your vast universe with solar systems for your characters to explore.  For fantasy, these tools can provide the scientific backing for far stranger worlds than Tolkien imagined.

Universe Sandbox ($10) is a beautiful space simulation program.  You can spin the Earth around the Sun at 10x time, restore Pluto’s pride by scaling it into a megaplanet, or add brand new worlds to our system.  The upcoming sequel adds even more options, like procedural planet creation, terraforming, and planetary collisions.

StarGen is a free online tool with no graphical flair to speak of, but makes up for it with scientific rigor.  Give it a few parameters and it creates a whole solar system of planets, each complete with data on surface temperature, atmospheric mix, length of year, and a dozen other things you might need to know.

For an actual image of your world, turn to Fractal Terrains ($40, Win) or the free Fractal World Generator.  Either will generate a random world, but Fractal Terrains will also let you edit coastlines, mountains and islands to your liking.  Tweak humidity levels and heat to see different terrains appear.  Then let the program apply wind and water erosion, and pretty soon you have riverbeds running through your landscape.

Mapping

A good map is a wonderful writing aid.  I use mine for story consistency,  travel times, and to see which keyWorld Building map locations haven’t yet been used in a scene.  For a reference map, the only tools you really need to are pen, paper, and inspiration.  For inspiration, I highly recommend the Cartographer’s Guild.  Here you’ll find amazing fictional maps that can give you ideas for what kinds of details to include on your own.

If you want a more advanced tool, there are several.  Campaign Cartographer ($45, Win) and Fractal Mapper 8 ($35, Win) are both fantasy mapping tools for the gaming crowd.  Draw out continents and then use the available symbols to add forests and cities.  Fractal Mapper goes a step farther and allows you to map building interiors as well.

Gimp and Inkscape are fully featured and fully free graphic programs.  The learning curve is steep, but either can create maps, mock up covers, house sigils or anything else you can imagine.

But perhaps the easiest way to get a detailed look at your world is to let a game make it for you.  Games like Dawn of Discovery ($10, Win) and Anno 2070 ($30, Win) simulate building and managing a city, in Renaissance Europe and the near future respectively.

 

Filling your world – Order, Chaos and a little help from friends

World Building population

Unless your story is dystopian, you’ll want to fill those empty maps with life.  This can be an enormous task, and it can be hard to know where to start.  Fortunately, the fantastic and amazing Kitty Chandler has put together the WorldBuilding Leviathan and the equally amazing Belinda Crawford has created a Scrivener template out of it.  In either form, the Leviathan prompts you with questions about your world’s timeline, culture, technology level, economy, biases, taboos, factions, and a dozen other variables.  In the end, you’ll feel as if you’d actually lived there.

Sometimes the ideas won’t come, and trying to brainstorm will send you into a glassy eyed stupor.  When that happens, introduce some chaos to get yourself unstuck.  Seventh Sanctum has a trove of random generators for anything from currency (two Imperial credits) to dragon breeds (Persian Rockstrike), to diseases (the Gray Sneeze) and more.  If you’re lacking for a detail to get you out of a rut, this can be just the ticket.

Other times, the ideas come freely, but leave you with more questions than answers.    The Worldbuilding Stackexchange is a great place to get general help.  When I last checked, the top question was “How to create a nuclear explosion localized to only a few square feet.”  We’ve all wondered that.  Now you can find the answer.

If your questions are specifically about the creatures you’re putting in your world, the Speculative Evolution forum might be more your speed.

Or, if you are developing your own magic system, Brandon Sanderson’s fansite hosts a Creator’s Corner with people doing the very same thing.


 

Building a Story Bible

Story BiblePretty soon, you’re going to need a story bible to hold all the details about your world.  Scrivener ($40) is fantastic not just for writing but also for brainstorming and storing every snippet about your world.

Personal wikis are another popular option.  These act as your world’s Wikipedia, with easy linking between your various topics.  You can quickly build a network of articles, complete with tables or inline images.  WikidPad is a favorite tool of folks over at Writing Excuses, but I’ve found TiddlyWiki or ZimWiki to be more intuitive.  All three are free to use.  Whatever your preference, these tools can help you to build a great reference tool for your world.

Conclusion

As enticing as these tools can be, Know When to Stop.  Worldbuilding should not be an exercise in filling endless binders with your own private sandbox.  Instead, it should always serve to enhance the story.  I love the way my friend James Artimus Owen puts it.  “We have the best job.  We get to create things in our minds that are so amazing, other people are going to pay to know what they are.”

Make sure these tools drive you back to the open page, and to finishing the story so you can share it with others.

Josh BennettAuthor Joshua David Bennett is a scotch lover, history enthusiast, graphic artist, and world traveler.  His first novel, Seacaster, is a Caribbean-Aztec fantasy that tells the story of a young man at war with the magic coursing through his veins.  Joshua lives in Colorado with his wife and son.

Why We Need to Write the Military Right: Part Two

A guest post by Karen Traviss.

GG_Kindle

If you missed Part One, you can find it here.

So why does fiction influence us so much when we know it’s not true? Our guard isn’t up, so we’re not expecting to be told anything. In fact, we’re open and receptive because we want to immerse ourselves in the story. It gets under our radar much more effectively than news or earnest information campaigns, and if it’s powerfully emotional as well, then it really sticks. Humans are pretty hazy about facts and our memories are frighteningly malleable, but we can almost always recall emotions even when suffering from dementia. The basic rule of PR sums it up: the public might not recall what you said, but they’ll always remember how you made them feel. Our emotional memory is hard to erase.

In the absence of personal experience, the brain takes what data it can get – even bad or irrelevant data – and tries to form it into a pattern that makes sense of the world. That’s why we started telling each other stories in the first place, to explain a world that baffled and frequently terrified us.

The penetrative power of fiction makes PR folk put great effort into getting causes and products worked into TV shows. It’s not a modern phenomenon. Getting ideas across under the cloak of a story has been with us for centuries. It gave birth to culturally-embedded fiction like the world’s longest-running radio soap, The Archers. From Uncle Tom’s Cabin, credited with influencing opinion on slavery, to raising awareness about cot death via TV soaps, fiction straddles the blurred line between the real and the unreal, and it can have positive outcomes.

But it can also be negative, and that even has a name these days – the CSI effect. I first came across the term in a conversation with a police officer who thought the TV show gave juries a false expectation that evidence was infallible and clear-cut, wrapped up neatly by the end of the episode so to speak, and that they struggled with the inevitable ambiguity and margins of error. One told me that even some his colleagues have unrealistic expectations of forensics because they’ve been influenced subconsciously by CSI. By contrast, it’s hard not to love the Swedish cop show Wallander for its less glam reality; the detective asks if a security camera image can be enhanced to grab a tiny detail, and the technician tells him the recording just isn’t high-res enough to do that.

I’m not saying that all fiction has to be documentary in nature, because if its was, most books or movies on the SAS would be 400 pages of blokes hiding in a muddy hole and observing stuff before departing entirely undetected, with perhaps one page of a thirty-second firefight resulting in a small pile of bodies. Nobody would pay to read that. We accept that fiction is a distilled and stylised perspective. Sometimes reality itself – like Operation Chariot, the extraordinary 1942 commando raid on St Nazaire – is just too impossible to pass the fiction test and needs to be filed in the Department of You Couldn’t Make It Up.

I’m not saying that fiction should become propaganda, either. It’s not fiction’s job to avoid examining things that unsettle and offend – it’s often society’s safest way of doing it. But the licence to offend is conditionally granted for telling basic truths. Portraying all soldiers as unthinking, brutish thugs who bully civilians, which seems to be a recurring theme in shows from the BBC’s Dr Who/ Torchwood/ Sherlock stable, bears no resemblance to the many hundreds – perhaps thousands – of service personnel I’ve met over the years. That’s the kind of stereotype I object to and that I feel percolates into the consciousness of those who have no benchmark in the real world. It smacks of the worst kind of social demonization, too, because it seems to be aimed at the working class who make up the core of our army.

But the BBC trails far behind Hollywood as a purveyor of bad data, so let me wind up with a quick and highly opinionated suggestion of what good military storytelling should look like, based on three movies.

The worst war movie I’ve seen is The Hurt Locker, which I judge harshly because it acquired an inexplicable reputation for authenticity despite some of the dumbest and most unreal behaviour imaginable. (Don’t take my word for it. Ask someone who’s done the job.) If it hadn’t set out its stall as realism, I would have ignored it as just another so-so movie.

The very best film is the agonisingly real Kajaki, a meticulously accurate recounting of a real incident in Afghanistan that dispenses with most cinematic convention and feels like a being a helpless bystander on the spot, watching the disaster unfold around you. Warning: it’s not an easy film to watch. Harrowing doesn’t begin to describe it, but you’ll be glad you saw it. It even portrays private security contractors in an honest and unsensational way, the only movie I’ve ever seen that’s avoided the “out-of-control mercenaries” stereotype.

Between those two extremes, but far closer to Kajaki, is the underrated Battle: Los Angeles, which is decently realistic in its depiction of urban ops despite being apocalyptic SF, although the barely-visible aliens could just as easily have been a human enemy. The Marines conduct themselves like Marines, and the minor technical errors (most of which I missed) don’t detract from the overall excellence. I’m indebted to a former US Marine for recommending it.

Get those three movies on DVD, or however you source your film entertainment, and watch them carefully. If you know a vet or someone serving, buy them a few beers and a pizza and watch them together. You’ll have one of the most educational conversations of your life.

Remember that there’s no such thing as too much research. I come from a naval city and the military world has been part of my working life to a greater or lesser extent for more years than I’m prepared to admit, but I still have to do my homework every time I write. I also make sure that I run my manuscripts past friends who’ve seen front-line service.

There’s a lot of small detail and technique to writing authentic military fiction, of course, but that’s a topic for another day. You need to do your homework on the language, the procedures, and the hardware, which will vary enormously; one size doesn’t fit all. But if you’ve got the heart of it right – what soldiers think, feel, do, and worry about, and the relationships they build – then you’ve kept faith with those who do the job for real, and that matters. You may well be shaping civilian attitudes to remarkable people who they’ll probably never encounter in real life.

So we owe it to our troops to make sure the voice we give them in our stories is an honest one.

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Footnote: if you’re wondering if it’s really that easy to implant false impressions in sane, intelligent people, this is one study of many that shows it’s a breeze. http://nymag.com/scienceofus/2015/01/very-easy-to-implant-false-crime-memories.html

About Karen Traviss:
KT
New York Times best-selling author Karen Traviss is a former defence correspondent and has also spent way too much of her life around politicians and police. Going Grey, the first in her new techno-thriller series, is out now and the sequel, Black Run, will be published this summer. Website and newsletter sign-up: www.karentraviss.com Twitter: @karentraviss