Category Archives: Craft & Skills

Pages of Inspiration: Books for Writers

The creative well runs dry. The heart is as desiccated and desolate as a dusty Old West street, because you’re certain your Work in Progress is utter cowflop. You shout into the endless black void, listening mournfully for a few spurious, uncertain echoes. Where can writers go when they need to pour some fire back into their souls? The same place that got us into writing in the first place: Books.

At various points in your life, you’ll encounter books that are like a blessed bowl of warm chicken soup on a wintry day when your nose is crammed with snot and you ache in every bone. You’ll encounter books like the smooth, sweet burn of good whiskey that warms you from the inside. You’ll encounter books like a smart kick in the buttocks from that hot personal trainer.

Allow me to be so bold as to suggest some books for writers that have made an impact on me.

Zen in the Art of Writing by Ray Bradbury is a short, sweet blast of poetic inspiration. Bradbury was a consummate master storyteller, and being able play with techniques he’s used to cultivate the creative soul is incredibly valuable. This book is less a nuts-and-bolts how-to than techniques for cultivating the creative soul.

The War of Art by Steven Pressfield is a swift little kick in the pants. Each short chapter puts a finger directly onto the throbbing wounds of all the reasons we do not write, all the reasons we hold ourselves back from achieving our potential. The book provides a useful psychological framework for overcoming all of those excuses.

On Writing Horror by the Horror Writers Association is collection of essays from the luminaries of horror fiction. Stephen King, Jack Ketchum, Ramsey Campbell and many others tackle aspects of effective storytelling that go beyond writing horror. Much of this book is simply about writing good fiction, and I still reference various chapters.

Bird by Bird by Anne Lamott is a great companion to Stephen King’s book below. Part how-to manual and part memoir, sometimes funny, sometimes poignant, every chapter is spot-on. The chapter on first drafts is worth the cover price alone. In fact, I give that chapter to my English composition students as a lesson in how to get past the psychological blocks common to beginning writers.

Few writers can boast the impact that Stephen King has made on American fiction. On Writing is part memoir, part how-to. There are chapters on specific writing and revision techniques, but it’s also a memoir of his writing life. I found great inspiration in his writing life because he talks about the course of his career. Much of it is incredibly familiar, forming parts of every writer’s path. He had the skill, the drive, the support of a partner, caught a couple of lucky breaks, and his career exploded. And if he could do it, so can I. So can you.

The Artist’s Way by Julia Cameron was a life-changing experience for me. This book is a twelve-week program designed to reignite the sparks of a creative person’s soul, whether the person is a writer, graphic artist, musician, etc. It helps examine and reprogram all the ways our creative impulse is squelched–by our own fears, by our families, by the outside pressure of society. If you work through all twelve weeks of this program faithfully, you will experience a sea change in the way you approach writing, the way you approach life. I had already been writing for two decades when this book was given to me by a friend, and I found it so transformative that a few years later I went through all twelve weeks again. It was fascinating to see how much of it I had internalized. And also how far I still had to go. The Artist’s Way treats a creative life as a spiritual journey, making writing into your art, into a way of life, not something you try to do in between your day job, kids and soccer games, and your next session of World of Warcraft.

I hope someday to discover another gem and be as enlightened, invigorated, and inspired as I was when I discovered these books. Everybody needs a shot in the arm sometimes.

About the Author: Travis Heermann

Heermann-6Spirit_cover_smallTravis Heermann’s latest novel Spirit of the Ronin, was published in June, 2015.

Freelance writer, novelist, award-winning screenwriter, editor, poker player, poet, biker, roustabout, he is a graduate of the Odyssey Writing Workshop and the author of Death Wind, The Ronin Trilogy, The Wild Boys, and Rogues of the Black Fury, plus short fiction pieces in anthologies and magazines such as Perihelion SF, Fiction River, Historical Lovecraft, and Cemetery Dance’s Shivers VII. As a freelance writer, he has produced a metric ton of role-playing game work both in print and online, including content for the Firefly Roleplaying Game, Legend of Five Rings, d20 System, and EVE Online.

He lives in New Zealand with a couple of lovely ladies and a burning desire to claim Hobbiton as his own.

You can find him on…

Twitter
Facebook
Wattpad
Goodreads
Blog
Website


Divining Character with Tarot

You’ve written several stories and the characters are all beginning to sound the same. How can you mix it up without using the same old characteristics that are embedded in your subconscious?

Try Tarot.

It’s fun and it’s easy.

Although the exact origin of Tarot cards isn’t known, we do know that during the Renaissance the cards were designed to explore archetypal and psychological patterns. For example, death is an archetypal event because it exists in all cultures and a psychological event because of the changes in a phase of life, changing events or people in our lives ,or because of personal emotional changes. Tarot cards are meant to be read on all these levels.

There are too many cards to summarize their individual meanings and the book accompanying the set you use provides that information. The deck I’m using is The Mythic Tarot: A New approach to the Tarot Cards. It was designed with the images of the Greek gods because of their influence on Western society.

Let’s use the Celtic Cross and Sword Spread. The Cross Spread gives us information about the protagonist while the Sword Spread tells us what lies before our hero. Here’s how it looks: tarot spread

The position of each card means something specific. There are books and websites which have reams of information on each of these aspects. This version has been grossly simplified for brainstorming purposes.

Now, we need a character and the story premise. Let’s have a hero who must save the world from an evil sorcerer. I know it’s been done a million times before but that’s why it’s a good example about how Tarot can be used to mix it up.

Allan, our hero, lives in the rural Midwest. Life on the prairies is hard but it’s a good community, strong with family values but there are things that make him miserable like his cruel father. The day before an old bookstore is torn down in the neighboring town of 500 people, Allan explores the derelict building and finds a book hidden in a wall. He opens the book, reads a verse out loud and unleashes a sorcerer. His best friend is a girl named Becky.

This exercise is in three parts:
A) What the card’s position means;
B) What the card itself means; and
C) What means for our character.

Cards 1–6 (Cross Spread) tell us about the protagonist.

1A) The Heart of The Matter
This card is the primary focal point for the hero. It focuses on a central issue or a major concern. It may be in the form of a dominant characteristic, a major influence or a basic worry.
1B) Five of Swords
With the capacity to create good or evil fate according to the strength of his beliefs or principles, the hero needs to face his limits to go forward. Doing so will allows him to accept his own destiny and to earn his right to manhood and eventual kingship.
1C) The Meaning
Allan has unleashed a sorcerer who is now on a rampage and that freaks him out completely. After having only read superhero stories and growing up in a rural community, he feels inadequate to the task of stopping the sorcerer. Allan needs to find and bolster his inner strength, overcome fears of inadequacy and step up to the challenge.

2A) The Opposing Factor or Adversary
Literally, as seen on the spread, that which crosses you. This is a contrary element, a complicating factor.
2B) The Hermit
The lesson of time and the limitations of mortal life – a lesson that normally comes with age and experience wherein the hero arrives at maturity, a deep respect for his limitations, and a firm sense of identity.
2C) The Meaning
Allan decides to do something because he’s the only one who can but he isn’t sure of himself, and doesn’t have the confidence to go it alone. For this reason, he seeks help from people he shouldn’t trust.

3A) Crowning Card/ Root Cause
That which hangs over the protagonist in the immediate present. It’s directly under the protagonist. It may be an unconscious influence, a hidden influence, or something from childhood. Whichever it is, it’s the source of the protagonist’s problem.
3B) Eight of Wands
Confidence and new energy is gained after triumphing over obstacles. A period of action after delay or struggle. Travel is implied.
3C) The Meaning
False confidence fills Allan’s head after experiencing a minor success. He now believes he can be the things his domineering father told him he could never be or do. Yet, his underlying fears and his father’s voice in his head undermine him.

4A) The Base of the Matter or the Immediate Past
Something related to the hero’s immediate past such as a belief, an event, an opportunity, a fear, a hope, or something resolved like a task, or unnecessary baggage. It may be an unconscious influence, a hidden influence, or something from childhood. Whichever it is, it’s the source of the protagonist’s problem. An unconscious motivation is brought to awareness.
4B) The Devil
The hero must face his own darkness must free himself by gaining knowledge by confronting all that is shadowy, shameful and base in his personality.
4C) The Meaning
This spread of cards continues to focus on Allan’s need to understand his inner self in order to conquer the sorcerer. There are several options. Will he face his own darkness through a dream or a situation the sorcerer has put him in? Will his untrustworthy companions betray him? Will they jeopardize a girl he secretly likes? What is that darkness? Had he done something that he perceives to be as cruel as his father, like pulling the wings off a fly?

5A) The Alternate Future
What could happen, a potential development. This card can also be used to determine aspirations or where trust is placed.
5B) Queen of Cups
Symbolizes the emergence of deep feelings and fantasies which may appear in the character of a woman who is may be either lover or rival. The woman may be mysterious, hypnotic or even seductive.
5C) The Meaning
Allan really likes Becky and she’s done nothing to deserve being held by the sorcerer. Allan finds he can dig down to do what’s right. Or, the sorcerer is a woman and he must overcome her hypnotic ways and again, he can only do that by facing and overcoming his sense of inadequacy.

6A) Future
What lies immediately in the hero’s future. It may be an event, a belief, a fear, a person, an event, an approaching influence, and unresolved factor which must be considered or even something to embrace.
6B) Seven of Pentacles
A difficult work decision must be made – continue with the project or do something new.
6C)The Meaning
Seriously? This card? We already know that Allan has to either overcome his beliefs about himself so he can move forward to be the hero he must be. Come on Allan – embrace your inner self! Actually, this card would fall perfectly in the scheme of the try/fail cycles. It’s the point where he must embrace his inadequacies, move forward and vanquish the sorcerer.

Cards 7-10 (Sword Spread) tell us what lies before our hero.

7A) Mirror
How does the hero see himself? This card reveals his temperament, his way of being or perhaps his self-image, how he presents himself, the idealized version of himself or a talent he can use.
7B) Three of Swords
Strife, conflict or separation, a painful state is necessary as blindness and self-delusion cannot continue.
7C) The Meaning
The Three of Swords says it all. Allan will face strife, conflict and pain because he’s not facing up to the realities of what haunts him and who he really is.

8A) From the Outside
How do others perceive the hero? What are their expectations, their view of the problem, the hero’s effect on them?
8B) The Lovers
Love makes people blind to their choices or actions so one must look carefully at his choices. It may mean making a choice between love and a career. It may mean a love in one’s life.
8C) The Meaning
His need for acceptance, even by the untrustworthy troop with him, makes Allan easily duped and keeps him from facing his fears and sense of inadequacy. This allows the group to take advantage of him for their own benefit and he suffers for that. He may have to choose between Becky (the girl) and the gang (vanquishing the sorcerer).

9A) The Guide or Hopes and Fears
What are the hero’s deepest hopes and fears? This card indicates how the hero will approach obstacles and opportunities.
9B) Ace of Cups
Ready for a journey of love, there is an outpouring of raw, overwhelming feeling. There is a potential for a relationship.
9C) The Meaning
He wants to be loved by his father, anyone. He wants assurance that he is not some horrid warped creature like his father, but a good person at heart.

10A) The Outcome
This card doesn’t mean ‘forever’ but rather tells us what the natural outgrowth from all the things we have divined about the hero. Everything leads to this point.
10B) Six of Swords
Insights smooth difficult times and insight and understanding and dignity and self-respect are maintained.
10C) The Meaning
I didn’t pull this card deliberately! But it is a story worthy conclusion. Insight, understanding and facing his inadequacies smooth the path for Allan who is now able to vanquish the sorcerer, save Becky and maybe even live happily ever after until the next villain appears for who knows what other demons the book holds?

This is a quick example of how Tarot can be used to develop a character. Authors also use Tarot to develop the plot. Mark Teppo’s book explains how he does that so check it out. Here are the two books I used to help divine this blog:

JUMP START YOUR NOVEL by Mark Teppo can be found here.
THE MYTHIC TAROT: A NEW APPROACH TO THE TAROT CARDS can be found here.

 

Autocrit.com

I’ve mentioned Autocrit.com on panels at conventions. It’s a very useful tool that can assist any author when they’re polishing up their manuscript. Even when I’m about to send something off to an editor or getting ready to upload a submission, I usually run it through Autocrit first. It finds many common problems and does a decent first-pass analysis of my work. For example, it flagged the fact that I used “first” too many times in this paragraph.

Autocrit is a paid service, but it will analyze short passages for you. If you subscribe, you get more reports and can upload a full novel. Note that I am not an affiliate, so I get nothing for recommending this service. I liked it so much I picked up a lifetime subscription when they offered one, and I was actually driving to a convention when I pulled over and called it in. Yes, I like it that much.

I pasted an old H.G. Wells short story called “The Inexperienced Ghost” into the chute to run this analysis. The sections below are just a couple of the sections you get. Actually, you get pages and pages of information, depending on how in-depth you wish to delve into the work. You can run through each section and update the text within the website.

Most of the analysis that follows comes from just the “Summary” page.

The opening piece is general statistics. Of course it gives word counts, but it also shows number of uncommon words, number of sentences, and the average word length of the sentences.

Manuscript Statistics


General
Number of Words 4881
Number of Uncommon Words 1062
Number of Sentences 461
Average Word Length of Sentences 11

The next couple of sections show statistics on your speech tags and adverbs used with them. They also compare it with recent best-selling novels so you can see how you match up.

The sections that follow are very handy for me. It lets me know how many adverbs, passive voice, redundancies, cliches, and generic descriptions are in the work. These sections alone are worth their weight in gold, since I sometimes use clichés (like I just did) when I should have said it better and in my own words. Here we can see that Herbert could have cleaned up his prose a bit.



Adverbs

Total Number of Adverbs 61
Top 3 suddenly 9
really 4
slowly 3



Passive Voice Indicators

Total Number of Passive Voice Indicators 175
Top 3 was 64
had 47
were 16



Showing vs. Telling Indicators

Total Number of Showing vs. Telling Indicators 186
Top 3 it 107
knew 39
see 18



Generic Descriptions

Total Number of Generic Descriptions 27
Top 3 very 11
suddenly 9
really 4



Clichés

Total Number of Clichés 32
Top 3 the fact is 3
the thing 3
as if 2

Now that I know Herbert should do a bit of rewriting. Most of the time I’m in the same boat. Arrgh…darn clichés.

Continuing on, the analysis shows how the pacing is for the first 50 paragraphs. That should be enough to give you a strong indication if your work has a bunch of dead spots. Herbert didn’t do too bad, in this case.

Finally, the Autocrit summary page will give me an indication of the word and phrase repetition. You’d be surprised how invisible that can be after you’ve been banging away on a keyboard for weeks, reading the same thing over and over.

There are more reports I can use to polish the manuscript. One I always check is the combination report under “Compare to Fiction”. The “personal words” highlighter finds the phrases and overused words that you tend to blindly sneak into the manuscript. It assists me when it comes to repeating the same thing over and over, especially since this sentence was flagged as having a redundant structure and a repetitive phrase.

Remember, you can try it out for free. You won’t get all of the reports, but it will give you a good idea of what you’ll get. Will it ever replace a good human editor? Nope. It does take care of the common junk that editors have to flag, and that gives them more time to find the real issues hidden in your book or story.

Website: http://www.AutoCrit.com

 


 

About the Author:DeMarco_Web-5963

Guy Anthony De Marco is a disabled veteran, a speculative fiction author; a Graphic Novel Bram Stoker Award® nominee; winner of the HWA Silver Hammer Award; a prolific short story and flash fiction crafter; a novelist; an invisible man with superhero powers; a game writer (Sojourner Tales modules, Interface Zero 2.0 core team, D&D modules); and a coffee addict. One of these is false.
A writer since 1977, Guy is a member of the following organizations: SFWA, WWA, SFPA, IAMTW, ASCAP, RMFW, NCW, HWA. He hopes to collect the rest of the letters of the alphabet one day. Additional information can be found at Wikipedia and GuyAnthonyDeMarco.com.

How to Sit Down and Write

Guest Post by Stant Litore

Stant Litore
As is often the case with our characters, our own greatest strengths as writers can serve double duty as our greatest weaknesses—the very things that keep us from building momentum with a novel. For example:

Maybe You’re the Perfectionist

Perhaps your quest for perfection and excellence keeps you from churning out mediocre work but also prevents you from actually finishing a draft. Your own internal criticism chimes in too loudly while you write. If this is the case, you will need to find a few tactics for disarming your own worst critic.

Maybe for you this will mean a mantra. Or maybe you simply need a way to enter and stay in “creative space” or in the creative mood. I recommend finding a trigger—such as an object that activates your imagination, or a scene from a book that gets you thinking imaginatively, or a piece of music or kind of music—something that you can return to when it’s time to “be creative.”

To stay in that space, try headphones. I write with symphonic music playing. I have done that for so many years that now, like Pavlov’s dogs, I lock into creative space as soon as I’m alone with that music. You may need silence—in which case, consider the not insignificant investment of noise-cancelling headphones.

Give some thought also to where you write. While you can write anywhere—I have been known to scribble a scene on the back of a receipt on my car dashboard while stuck in traffic—you might also be well served by establishing a routine place that you make into a creative space, a sacred space. Just as a monk goes to a cell and stares at an image of the Virgin Mary in order to enter and remain in a state of contemplation, you might create your own space and ritual to enter and stay in a state of creativity.

It doesn’t have to be extravagant. If you have a room of your own that you can convert into a study for writing, that’s great, but for years I did all my writing on a tiny, round dining room table in a cramped dining room in a small apartment. I put the kids to bed, popped on my headphones, and had at it. Not an ideal writing space, but I did what I could to make it mine, for those few brief evening hours. A small owl statuette served for a symbolic reminder of past travels and past creative moments. The symphonic music turned on my imagination. And I took a moment to clear from my space whatever made it not right: dirty dishes, stray paperwork, etc.

Do the same with whatever space you have available: find a way to make it sacred to your writing, even if only for brief periods.

Or Maybe You’re the Artist

Maybe daily perfectionism isn’t your particular curse. Maybe for you, your love of imagination and beauty makes you hesitate at some point mid-process, because the first draft looks like a pale betrayal of your original vision for your story.

Other writing instructors have called this phenomenon “Tolstoy Syndrome,” the unspoken, subconscious belief that if your first draft doesn’t look like a masterpiece (like War and Peace), then you have failed and you should stop. Of course, Tolstoy’s own first drafts were a mess, too. A first draft is just that: a first draft. A place to start. For most writers, the real work is in revision. Accept that first drafts are awful, and do them anyway. If you never start, you’ll never finish. That sounds like a platitude, but that doesn’t mean it isn’t true.

When you get that feeling that your work is but a pale imitation of your vision, and that feeling starts to get in your way, do this: Take out a sheet of paper. Close your eyes a moment (unless you are driving, in which case go home first, and then try this; we are mad storytellers, you and I, but we needn’t be lunatics) and imagine your character mid-scene in some moment of your book that is closely connected to what you love about your story. Then open your eyes and write. “Free-write”—write without permitting your pen to leave the paper or your fingers to leave the keyboard. Free-write for ten minutes without stopping. It doesn’t matter if what you’re writing in those ten minutes is good, or even if it belongs in the story. Just write the middle of that scene that so appeals to you. I wrote an Inuit character once—twenty years ago, as a very young writer—and as I worked on his story, at intervals I would look at what I’d done and feel defeated. I suffer from Tolstoy Syndrome. To deal with that syndrome, I kept returning to a scene where my character was out on the tundra, his breath visible on the air, his face greased against the bite of the wind, his spear heavy and reassuring and solid in his hand, and the air full of the reek of caribou. I must have written that hunt twenty times. And each time I wrote it, I recovered the magic of my story, the wonder of it, the appeal that drew me to this character and his story in the first place. When you feel yourself failing your vision—because first drafts generally do exactly that, and that’s okay—find a way to step back into your vision. When you are standing in the midst of your vision, you are strongest; you are happiest. So go there for a while before you return to your actual manuscript, and write and revise from that place in your heart, from that country in your imagination. That can give you a restorative burst of energy.

This is also how you break “writer’s block”; if you’re in a place where no ideas are coming, step aside from that place for a few minutes and free-write a scene that is close to your heart. If the engine of your imagination is running cold, this is one way to heat it up!

The point is: with perseverance and discipline, you can do this. As Koach learns in The Zombie Bible, the only lasting impediments are those we shore up in our own hearts. You may have shored up some of your own. Have courage and knock them down.

This post is an excerpt from Write Characters Your Readers Won’t Forget.

 


 

About the Author:Stant Litore

Stant Litore is the author of the series The Zombie Bible, which retells history (and the Bible) as a series of encounters with the restless dead, as well as The Ansible Stories, in which twenty-fifth century Islamic explorers become trapped in alien bodies on alien worlds. Litore has been featured in “The Year’s Best New Sci-Fi” at NPR (March 2014), as an Author Success Story on the Amazon.com homepage (November 2013), and in Weird Fiction Review and SF Signal. Litore lives in Denver with his wife and two daughters, where he is working on his next novel.