September 11, 2012

Growing Art

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We all want to improve.  

I make that a blanket statement, because while there are those writers who already think their writing is as good as it gets, us saner folk still have days when we look at our work and think, "Oh goodness.  I really, really stink at this.  Did I write that?  That is so stupid.  Backspacebackspacebackspace...!" and daydream of a time when our writing is polished to perfection.  (At least, I do.  On rare and not terribly lucid occasions.)

Our desire to improve in the craft of writing is what drives us to read the self-help books and writing blogs dedicated to the subject.  We dig through all the posts on fight scenes or dialogue, hoping to glean something that will make our writing in those areas shine and stand out from the crowd.  We fret and sigh over cliches like "black as pitch" and practically rip our hair out over stray adverbs.  We chew our nails as we wonder if maybe our fantasy world isn't as original, after all, as Patricia McKillip's.  And on top of all that, as Christians we often stretch our brains to amazing lengths to find out how we can fit the Gospel or maybe just a prayer into the plot - because that's what we're supposed to do, right?

Now, some of you know already that I'm not a huge fan of self-help books.  I'm not going to denigrate them, though, because I know that they can hold very useful information and have helped numerous writers work out difficult parts of the writing process; I know that for myself, I frequently store away the tips on such blogs as Go Teen Writers, to be implemented at some later date.  Nothing beats an extensive library and broad tastes, but it is nonetheless helpful for us to see things broken down, the parts examined in detail and then put back together again. 

All things in moderation, however, for this approach can be overdone, and then nothing so thoroughly robs a story of its life.  This self-help business often - necessarily, even - looks at writing in a mechanistic fashion: take it apart, look at the cogs and gears and gerbils, then assemble it and voila! a story!  It can fail to recognize that a story is much less a machine than it is a living organism, needing to be nurtured, not to have its leaves and roots pulled out and inspected.  We simply end up trying too hard.

That is a difficult thing to say without sounding as though I'm implying that writing is an easy flow of words onto paper every single day with no agonies whatsoever.  But of course that is nothing more than a fantasy, and not even a pleasant one when you start to think carefully: what, after all, is writing without any work?  We do have to labor over our stories.  We do have to make the plant grow, and we do have to get rid of all the bugs and the fungus and the what-have-you that distort it.  The point is not to sit back and clear your mind of all the wisdom of other authors and readers. 

The point is to have the right mindset.

Writing is an art.  It isn't the same as putting together the parts of car until when you turn the key in the ignition, the engine comes to life.  It's an art, a work of creation, a tying together of a multitude of thought-threads into a story that feels - and in some ways is - alive.  That is not something that can be taught.  And because of this, we cannot go into self-help books and the like expecting to be shown how to write.  We can be shown how to polish our words.  We can be shown how to spruce up dialogue.  We can be shown when to leave a cliche and when to reinvent one.  But in all that, we cannot be shown how to write.

We can't be taught this, and yet I do believe we can learn it.  We learn it individually in the process of our writing, and also in the process of our living.  Because being a writer is not just an expression of what we do, but of something we are.  I don't know that it is essential and I won't run off on a philosophical rabbit trail; it is enough to realize that writing is a necessary part of who we are.  And I think that perhaps the process of improving our writing is not, after all, so much the process of polishing grammar and the like (however important that is).  It's a process of growing.

September 6, 2012

Dramatis Personae - Tempus Regina

Recently I was looking over my Dramatis Personae for The White Sail's Shaking, written back in March of last year.  It was amusing to see how the characters have since developed, not simply in the usual way of story arcs and all that, but from how I imagined they would be to what they truly were.  It usually takes me a little while to really grasp my characters - somewhere around the 50,000 word mark - and after I've grasped them, I have to go back and correct all misrepresentations in the beginning of the story. 

Yet as I venture into the strange, strange world of Tempus Regina, I thought I would do a Dramatis Personae post for it.  I don't expect this to be accurate to the finished product, or even the 50,000 word product; but it will give everyone a tiny glimpse into the story, and I'll be interested, sometime down the road, to look back and see the differences. 

tempus regina

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Regina

Regina has appeared on Scribbles a few times, but not being of a very open or sociable turn of mind, she hasn't featured much.  She has a spotty history; she can still remember (when she cares to) the time before she, her mother, and her brother moved to London from the country, but since then her life has been full of fog and dirt and hard labour.  Nine years of taking care of her mentally-ill brother on her own have lent ice to her personality, and no matter how turbulent the waters may grow underneath, she keeps that ice intact.  Not even being hurled through time, tangling with history, and falling in with an assassin can break her of that.




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The Assassin

The Assassin has also featured, with some success (little wonder: would you look at that guy's cheeky grin?).  He's a nebulous fellow, with a past about as spotty as Regina's and a present that exists primarily in the dark.  He dabbles in a little bit of everything - a little alchemy, a little astrology, a little assassination.  For a price, he agrees to help Regina find the answer to the riddle of the pocket watch, and thus hurls himself headlong into a hunt that will muddle past, present, and future and change the face of his world.







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Morgaine

Morgaine is something wholly different from either Regina or the Assassin, but her path runs into theirs, and after that there is no separating them.  She is quiet, not with Regina's stoniness, but with the air of someone who has learned to hold her tongue and prick her ears.  As tied to Britain as an oak tree, there yet remains something in her that has nothing to do with that world at all.  She feels it rather than knows it, and the knowledge of her own self, somehow entangled with the life of a woman from the future, shakes her foundations.




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A Fisherman

Living in a hut at the edge of a river, this man passes for a sort of strange fisherman - only, he fishes for knowledge and not trout.  Like the Assassin, he keeps to his shadows; he is the man above the stage, not necessarily making the puppets move, but watching them as they do and perhaps giving the strings an occasional tug.  He knows more about the Dragon watch than the other three characters put together, but there remains a large gap in his information; and until he has filled it, he keeps back and watches the puppets move.  When he comes out, though, I do believe he'll come out with a roar.




 
meet the authoress
I am a writer of historical fiction and fantasy, scribbling from my home in the United States. More importantly, I am a Christian, which flavors everything I write. My debut novel, "The Soldier's Cross," was published by Ambassador Intl. in 2010.
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published writings






The Soldier's Cross: Set in the early 15th Century, this is the story of an English girl's journey to find her brother's cross pendant, lost at the Battle of Agincourt, and of her search for peace in the chaotic world of the Middle Ages.
finished writings






Tempus Regina:Hurled back in time and caught in the worlds of ages past, a Victorian woman finds herself called out with the title of the time queen. The death of one legend and the birth of another rest on her shoulders - but far weightier than both is her duty to the brother she left alone in her own era. Querying.
currently writing



Wordcrafter: "One man in a thousand, Solomon says / will stick more close than a brother. / And it's worthwhile seeking him half your days / if you find him before the other." Justin King unwittingly plunges into one such friendship the day he lets a stranger come in from the cold. Wordcount: 124,000 words

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