Tag Archives: Ace Jordyn

What an enlightening month November has been! If you ever wanted a crash course in what makes writing the best or the worst, this was it.

There is so much to learn about writing craft and storytelling from the masters yet we can learn equally from writing that doesn’t engage us. Deciding on the ‘best’ means we need to understand why we like what we do and what constitutes the best for each of us (Kristin Luna). It also means not disregarding other forms of fiction because the best stories use elements of both literary and commercial fiction and knowing how each works makes us better skilled writers (Susan Forest).

Elements in the best writing includes:
precision of word choice, great imagery and detail plus an author who gets right into his character’s heads (Clancy); a grasp on multi-sensory prose which like a dream, makes the fantastical normal and lifts the reader to a place of wonder (Brenda Sawatsky); cliffhangers and when multiple story lines crash together in a maelstrom of calamity at the end of a book (Evan); well executed diverse fiction that helps the reader understand the world we live in and cultivates respect (Kim May); story matters and being a good storyteller with proper pacing and resolutions is key, but before telling the story, think about how much you can tell us by each word, each sentence, and the beauty you strive for in bringing them together (Colette); it’s not just about the protagonist against the antagonist but about how every character interacts with every other character (Jace Sanders); heroes aren’t heroes all the time. They are just humans with something about them that is extraordinary, and the more flawed a character is, the more human they seem (Leigh Galbreath); the best writing has characters who strive for themselves along with sentences that soar on their own (James Van Pelt); successful prologues convey information without being an info dump and they promise a story/writing style upon which they deliver (Ace Jordyn); a consistent background which functions almost as another character, widening the options for the protagonist’s conflict along with psychological realism where characters behave consistently (Al Onia); the key to the ‘best’ has less to do with perfect prose, and more to do with story impact when what we’re writing matters, emotions rise up, and the reader can feel it (Adria Laycraft).

What constitutes the worst writing includes:
meandering prose that loses the reader and is boring and there’s no beginning, middle or end and no characters to invest in (Clancy); it’s a bad idea to mislead readers about what kind of story you are telling readers for pick up books because they’re hoping for a certain type of experience. (Mary); when writers grab hold of a culture’s cool elements—Samurai swords, martial arts, ninjas—and throw the rest out the window because the history, philosophy, sociology, and traditions are so intertwined and influential on the cool elements that you can’t separate the two and do it justice. (Kim May); it’s not possible to root for a guy who seems like a walking pity party or if the main character lacks any sense of wonder (James Van Pelt); prologues don’t work if they create expectations that the book doesn’t meet either in story content or style, if they’re an info dump or if they are used to foreshadow or tease (Ace Jordyn); when writers betray the promises set in the beginning of the book and shatter the reader’s bond with the story (Frank).

So how can we judge how we each measure up at being the best? We can compare our work to those we admire and like to read or, as Nathan Barra observed, we can learn by comparing our earlier works to our current ones and being motivated by that.

In case you want to follow up on any of the excellent points I’ve summarized, here is a list of November’s blogs. Just click on the title and the link will get you there.

Happy reading and writing!

Lee Child vs the Boring Clancy
Not What I Signed Up For Mary
The Dreamer Brenda Sawatzky
In Loving Appreciation of the Story Swirl Evan Braun
The Emperor and the Impostor Kim May
Kneeling in the Silver Light Mary
The Importance of Word Choice Colette
Learning from the Masters Jace Sanders
A Tale of Two Readers; or, Everybody Wins Kristin Luna
The Not So likeable Hero Leigh Galbreath
Pluck, Pity Parties and Prose – What I Like Best and What Doesn’t Work James Van Pelt
SSWS Writing Scholarship: Should YOU Apply? Colette
Clive Cussler, Guy Gavriel Kay and DJ McIntosh are Masters at … Ace Jordyn
Writing What I Like to Read Al Onia
Writing Stories that Matter Adria Laycraft
Looking for Progress in a Mirror Nathan Barra
Don’t Break Your Promises Frank
Using the Tools of Both Literary and Commercial Fiction Susan Forest

Clive Cussler, Guy Gavriel Kay and DJ McIntosh are Masters at …

November 20, 2014

Ace Jordyn

Ace Jordyn Craft & Skills Prologues The Writing Process Writing Tools 2 Comments

… the dreaded, overused, abused and misunderstood prologue.

I’ve never been a fan of prologues. Sometimes prologues create expectations that the book doesn’t meet either in story content or style or it’s an info dump. If it’s designed to foreshadow or tease I read no further because I want to experience that within the context of the story itself. The prologue must signal that it contains important information which can’t be placed elsewhere in the book. Before I buy a book, I’ll skim the prologue and the first chapter to ensure that chapter one is gripping and that the prologue wasn’t added because the first chapter failed to hook.

Sometimes the prologue works well and in the hands of good writers, you know the story wouldn’t be the same without it. The prologue should entertain, read well and provide a set-up that can’t be integrated into the novel proper.

In The Navigator, Clive Cussler and Paul Kemprecos interpret history to create a fast paced action adventure. Set in 900 B.C., the prologue is a well written short story with compelling characters, feuding brothers, interesting detail and contains a mystery that the reader knows will be revealed in the thriller’s modern day setting. Like the novel, the prologue is an action adventure with plot twists and turns. We expect that in Cussler’s books and he delivers.

The prologue in Guy Gavriel Kay’s novel Tigana is set back only 20 years and is a delight to read because although it is set in the time of war, it isn’t an information dump and it skillfully sets the mood and the theme. Unlike Cussler’s story approach, Kay paints only a scene between the court’s sculptor and the prince who are steadfast friends. This scene, in the hours before the hopeless final battle, the sculptor and the prince reflect that, despite knowing that they will lose this battle, their legacies will live on through their children and their work and they will die at the hand of a vengeful sorcerer for they have killed his son. There is also the delicate touch of themes, remembrance, the good and evil in people, the ugliness and beauty of a situation, hope and despair. ‘There was singing on the other side of the river too, he noted, listening to the enemy soldiers north of them. It was curiously hard to impute any absolute sense of evil to those harmonizing voices, or to hate them quite as blindly as being a soldier seemed to require.’ The writing is introspective without being melodramatic. ‘There will be ripples of tomorrow that run down all the years.”

D.J. McIntosh is a historical thriller writer touted as the next Dan Brown. The first book of her series, The Witch of Babylon, is set in 2003, just after the National Museum of Iraq becomes a casualty of war. The prologue is unusual in that it has three vignettes: the first sets the time and place, in the ruins of the museum where a thief after a relic observes a museum archeologist; the second where the American archeologist outsmarts the thief; and the third, where a woman is tortured for information and is left to die in a sandstorm. The intimate nature of these situations is information which can’t be known or revealed later because the story is told in the first person and not by any of these characters. These vignettes are handled deftly for they contain well-paced action and adventure written in vividly descriptive, yet not overdone, prose–just like the rest of the novel. For example: ‘And yet on the ninth day of the month of Nissan, a time well chosen by the invaders to avoid the brutal heat of summer, the city did fall, crushed as easily as the delicate shell of a baby bird.’ and ‘She dreamt of water—the feeling of cool liquid slipping down her throat, reedy pools at the edge of the Tigris, icy moisture on ancient rock walls. She was cracking and she knew it.’

These three authors wrote their prologues in very different ways. Each successfully conveyed information without it being an info dump and promised a story/writing style upon which they delivered. They all made for good and memorable reads: Cussler’s ability to deliver action adventure with an interesting historical twist; Kay’s ability to weave a poignant scene with thematic overtones; and McIntosh’s deft delivery of an action based thriller with roots in ancient and modern history.

Yes, that dreaded, maligned prologue can be a joy to read!

What Color Should an Introvert Wear?

October 8, 2014

Ace Jordyn

Ace Jordyn Living Deliberately Networking Self-Awareness The Writing Life Work-Life Balance No Comments

Crowds wear me out. As do conventions and even large meetings. At first, I thought I was an introvert but that didn’t always make sense because I like people and I like conventions. But they tired me out and so I searched for coping strategies. How could I even enjoy myself, let alone talk to anyone, especially agents and publishers, if I wasn’t on my game?

I embarked on a journey to find the perfect wardrobe- inside and out. Outside was easy – some interesting jewelry, clothes with a unique flare. Inside I needed to know if I was an introvert trying to maneuver in an extrovert world. Despite doing the research and planning for events, I found I still wore out easily and I began to suspect that it may not be about whether I was an introvert or an extrovert. How could it be? I’ve spoken in front of hundreds of people, given workshops and have been a guest speaker only to now find myself dreading crowds. I was getting tired everywhere, all the time – at meetings, critique groups, writing retreats and workshops. What was going on?

Chronic Fatigue Syndrome (CFS) – that was the diagnosis. It crept slowly into my life stretching like a shadow on a lazy summer day, creeping until it melded with the dusk. It eroded my energy, my confidence and my ability to fully participate in events and conferences. Worse yet, it decreased my productivity because I tired easily. My greatest fear now wasn’t what color I should wear, it was about whether I’d have enough energy to maintain a productive and fulfilling writing life.

There is no known cause and there is no cure. One of the current theories is that the mitochondria (our cells’ power plants) aren’t functioning optimally. I’ve learned coping strategies to manage the symptoms and to reduce ‘flare ups’. Writing goals have been adjusted and are being met. I’ve learned to limit activities and to be more strategic about interactions. I’m managing it so it doesn’t manage me. It’s not perfect and I do suffer from over-exertion but I sometimes choose to do things knowing there will be consequences.

When it comes to my writing life now, to being at conferences or at workshops, I know what I need to do to function. Part of it is understanding that over stimulation is tiring, that there is only so much I can do and participate in and then I must rest. It’s manageable and if I’m careful with my energy, I can be as productive and outgoing as I want to be. As for what color to wear? It really doesn’t matter anymore. I know my limitations and whether I wear brighter colors or quieter ones, my confidence is back because I’m in control and I can pick my moments.

My apologies to fellow CFS sufferers because I don’t mean to minimize the effects of CFS or to imply that there’s a simple solution. This blog isn’t about coping strategies, management and symptoms. It’s about letting people know that sometimes when you feel like life is overwhelming and that you don’t have enough energy to do the things you want to or to even enjoy them, sometimes it’s important to step back and take stock. Ask those questions about physical and mental health, consider if you’re taking on too much, examine expectations – take charge so you can choose the colors you want to wear on any day so you can achieve your goals in your writing life.

Stillness – How Shall I Write Thee?

September 25, 2014

Ace Jordyn

Ace Jordyn Craft & Skills Reflection Self-Awareness 1 Comment

Good fiction is life with all the boring bits taken out, not with all the hardship taken out.
Caro Clarke

Those ‘boring bits’ in life can be the most meaningful times yet it’s almost impossible to incorporate them into a story and hold a reader’s attention.

As writers, we are tasked to evoke emotion, to bring meaning through theme, to explore economic, political and social environments. Writing books and blogs tell us we need to delve deep into our characters to understand what formed his value systems, what motivates him and what he fears. Doing this creates characters in conflict and provenance for change.

In real life, change can come from moments of contemplation. During those moments we reflect, digest, and come to understand ourselves. It can be our impetus to change. Most often, I have found the deeper meaning in my life during the ‘boring bits’ like meditating or paying full attention to what I am doing like washing dishes or going for a walk. So how as a writer can I add these ‘boring bits’ in a meaningful way to my genre fiction? Where are those moments of stillness and contemplation in a novel, wherein a character takes time to contemplate and understand and is then compelled to act or change? How can we write it and still move the story along?

The act of reading requires active participation of the reader to turn pages or flick them across a screen. Interpretation, thought and emotion abound, thus the mind is never really still. There must be some way to bring a sense of stillness or contemplation to the page. How do we capture that moment when one contemplates a wonder of nature – a soaring bird, a beaver with a branch in its mouth, silently swimming past your still canoe, a gecko sunning itself or a cotton ball cloud morphing into a unicorn?

English Romantic Era writer William Wordsworth (1770-1850) captured such contemplations in poems and so masterfully conveyed his feelings that the reader is transported to the moment. Wordsworth’s simple moments became a contemplation of his life thereby revealing his emotions and what he values. His poem, To the Cuckoo is an excellent example of this:

TO THE CUCKOO
O blithe New-comer! I have heard,
I hear thee and rejoice.
O Cuckoo! shall I call thee Bird,
Or but a wandering Voice?

While I am lying on the grass
Thy twofold shout I hear;
From hill to hill it seems to pass,
At once far off, and near.

Though babbling only to the Vale
Of sunshine and of flowers,
Thou bringest unto me a tale
Of visionary hours.

Thrice welcome, darling of the Spring!
Even yet thou art to me
No bird, but an invisible thing,
A voice, a mystery;

The same whom in my school-boy days
I listened to; that Cry
Which made me look a thousand ways
In bush, and tree, and sky.

To seek thee did I often rove
Through woods and on the green;
And thou wert still a hope, a love;
Still longed for, never seen.

And I can listen to thee yet;
Can lie upon the plain
And listen, till I do beget
That golden time again.

O blessèd Bird! the earth we pace
Again appears to be
An unsubstantial, faery place;
That is fit home for Thee!

Although writing styles and language have changed, perhaps we can still learn something from writers like Wordsworth. Stillness begets contemplation which begets understanding of character or a change in thought. This can be a call to action or a justification not to act.

So maybe, just maybe, there is a way to capture stillness or contemplation in a way so that it isn’t a ‘boring bit’ or elusive like the butterfly.

How do you capture stillness or contemplation in your stories?