Guest author Maya Reynolds: Translating Your Inspiration

Maya Reynolds is a management analyst living and working in Dallas, Texas. She’s published two romances through NAL, a division of Penguin, and is currently at work on her third novel.





Rosanne Cash is on book tour for her new memoir, Composed. In the past week I’ve heard three different interviews with her on the radio. I was only half listening to her NPR interview with Diane Rehm on Thursday when she said something that caught my attention.

A woman phoned the show, asking for advice as to how she could help her nephew, a budding musician. Cash responded, “The best advice I ever got was, ‘refine your skills so you can support your instincts’.”

She went on to say that great impulse and passion need to be accompanied by a skill set and discipline. She added, “When inspiration comes, you want to have the tools to translate it.”

This is absolutely terrific advice for any newbie artist, including aspiring writers. If you take the time to learn the rules, you can then twist those rules with impunity or even strike out on your own to explore new territory.

I’ve been thinking about this subject quite a bit … ever since I read Stieg Larsson’s Millennium Trilogy last month. I came late to Larsson’s books, but made up for it by reading all three over a two-week period. In his first book, The Girl With the Dragon Tattoo, Larsson ignored lots of rules that newbie writers are warned against breaking. He begins with a prologue, he delights in long info dumps, his heroine doesn’t show up until Page 36, and he solves the mystery 150 pages before the end of the novel, throwing off the entire book’s story arc.

But his prologue was intriguing, the mystery absorbing, and I found Lisbeth Salandar to be the most fascinating anti-hero since Hannibal Lector. It also helped that the second and third books were better written than Dragon Tattoo (or at least better representatives of the thriller genre).

Larsson had been writing fiction since he was 17 and earned his living as a journalist. He died at age 50 before the Trilogy could be published. Two weeks before his death, he gave an interview to the editor-in-chief of a Swedish book trade magazine. Six years later, the editor gave an interview of his own to the UK’s Telegraph. In light of the phenomenal success of the Trilogy, that interview offers some interesting insights for writers.

Larsson described the genesis for The Girl With the Dragon Tattoo. “‘I considered Pippi Longstocking,’ he said, referring to the most famous creation of the Swedish children’s author Astrid Lindgren … ‘What would she be like today? What would she be like as an adult? What would you call a person like that, a sociopath? … I’ll make her 25 years old and an outcast … That was my original thought.’ That thought evolved into Larsson’s formidable heroine, Lisbeth Salander.”

Later in the interview, Larsson said: “‘A thing that’s bothered me about crime fiction is that it’s generally about one or two people, but there’s not much about society … I want to get away from that particular pattern … In real life, people are integrated into society. That’s what happens in my books, as well … It’s not an isolated universe.’”

As a professional writer, Larsson had the skill set he needed. Although an avid mystery reader, he also had the confidence to ignore the conventions of the genre in order to carve out his own path. During that interview, he referred to the three books as his “retirement fund.” He knew they’d sell although he didn’t live to see them released.

Last month Larsson became the first author to sell over a million e-books on the Kindle. Altogether his Millennium Trilogy has sold 35 million copies in 40 countries.

Develop your skills and then trust your instincts. And never, ever, give up.

—Maya Reynolds

Maya's website: http://www.mayareynolds.com/index.htm
Her blog: http://mayareynoldswriter.blogspot.com/
Her Books: Bad Girl; Bad Boy

Who's Normal?

Is there any such thing as a normal character? Can a character be too contrived or complex? Whose standard of ordinary do you apply to the people you read or write about?

I ask this because I was talking to my mom the other day and we drifted onto the subject of religion, which inevitably led to memories of my grandmother. Grandma was saved and sanctified – southern style; an avid member of the Church of God in Christ (C.O.G.I.C., to those who know). Devout and enthusiastic, she was popular among her church family in addition to being a well-known business owner in the community.

Religion is what I remember most. She was faithful to her denomination to the point of removing the dice from our Monopoly game and fussing at us for gambling. (I believe we ended up finding a “spinner” from some other game and continuing with our play that way.) Grandma did not dance or listen to (most forms of) secular music as I recall either.

Fast forward a decade and a half to when I’ve grown up moved away from Missouri to live my life as a young divorcee and single mom. Lo and behold, I capture the attention and affections of a preacher! I was just bursting with pride the next time I called grandma and couldn’t wait to tell her of my catch.

“UGH!” She practically spat into the phone.

I could all but see her eyes rolling in disgust across the 600 miles of wire between us. “A preacher?!” Tsk, tsks followed.

Not only was I stunned by her reaction, but I also recall feeling disappointed and a little embarrassed as I continued trying to sway her with this young man’s Godly attributes. She remained unimpressed, we changed topics, and I remember this still.

I experienced this incident as a human long before I could analyze it as a writer. But from both perspectives, it was the unexpected shift in character that caught me off guard.

Grandma was fervent in her faith. In my mind, she was supposed to delight in my pastoral find. Yet she didn’t. I continue to wonder what she’d encountered along her religious road that cost clergy their credibility. If she was a character in one of my books, what would Grandma’s backstory be?

Without the reason behind her reaction, my readers would be as stunned as I was in real life.

Now, I could use that unexpected revelation early on as an intentional plot device to set the tone for action in later chapters. Or, midway, I could use it as a pivotal turning point that re-routes the direction of the story. Or I could save it for a surprise ending that’s been hinted at throughout the story.

Regardless, I’d find a place to use it and ways to support and explain it in the plot. To me, these are the quirks that make characters worth exploring. I’ve come to learn that I really don’t know too many “normal” people. It’s the pits and warts that make us human and that bring fictional characters to life.

As an adult, this unexpected chat helped me relate to my grandmother as a woman rather than the iconic figure of my youth. Now that she’s gone, I can only wonder about the early pages of her life.

As an author, it’s one example of how reality impinges on our expectations in fiction: I owe my characters flaws, I owe my readers explanations. I think this is the only “normal” for fiction.

What about you? Do you think there’s any such thing as a normal character? Can a character be too contrived or complex? Whose standard of ordinary do you apply to the people you read or write about? Let us know.

Quirky, quiet, introspective, always watching, probably not normal,

Stefanie

www.stefanieworth.com

The Defining Moment of a Novel

When writing a novel (or even reading one, for that matter) there is always a particular moment within the tale or storyline that truly defines it. That may be after the central characters are introduced to one another. Or when a conflict is established or resolved. When certain events within the tale converge. The conclusion of the story. Or some other point in time.

Such a defining moment need not correspond to the general direction of the novel. Or a juncture that is supposed to tell you that this is where it happens. The reality is that there are no hard set rules or interpretations of when that moment comes--be it at the beginning, middle, end of the story, or somewhere in between.

As the writer, most of us can tell intrinsically when that defining moment makes the novel what it is. That is the time when all the pieces seem to come together (even if the story still has a long ways to go before being resolved). Where the earth, sun, and moon are perfectly aligned. Where the essence of the story reaches a point where you just know you have got it now with the balance of the book a mere formality in terms of your ability to fill it out once you've gotten past that defining moment.

There is no better feeling as a novelist than when all the hard work that goes into developing three-dimensional characters and plot, setting and conflict, tension and suspense, clues for readers, and the final resolution comes together at a certain point as you write the novel, so that a light bulb flashes in your head and it becomes clear that everything is flowing perfectly just as you had envisioned and it is smooth sailing from that point on.

The same is true as a reader. When you are sitting in your favorite armchair or on the beach in Hawaii so ensconced in this page turner that you can't put down, it only takes looking back to realize that magical point in time when you were truly hooked. Or your interest spiked so that you became a prisoner of the book from that point on, knowing you could not rest till seeing how all the pieces of the puzzle fit together so that you could finally take a deep breath and let it go.

As the author, you have the benefit of knowing what's going to happen and when over the course of the novel. Thus, that defining moment can hit you at any point of process from beginning to end.

I am currently about halfway through the novel I am writing and have yet to come to the defining moment, per se, though I have crossed some "mini moments" along the road leading to that particular point in time when I will feel I am there and, as such, home free in doing what I set out to do in entertaining those who read this book.

Tell me about the defining moment of your novel as a writer. Or when you are reading a novel.

Does it hit you right away? Or do you need to finish writing or reading before backtracking to capture the moment?

What criteria do you use in determining what constitutes such a defining moment of a novel?

My 24-7 job

I avoid funerals like the plague. When I was younger, I promised that I would never attend one, not even my own. Anyone who dared to open the casket at my funeral would be in for a shock, as I would not be there.

Unfortunately, circumstances have forced me to adjust my perspective on this. I still hate attending funerals, but I have had to attend a few especially in the last couple of years. A close family friend, a wonderful lady who was a surrogate mother to me in my formative years passed away a few weeks ago. I went to the funeral, but this time I had a plan. I would attend, but I would survive the onslaught of emotions by giving myself the role of an observer. I would take notes on how things were done and people’s behavior, mental notes that could be of use to me if I ever had to write a funeral scene. My intention of course was not to be disrespectful. This was about survival.

It occurred to me then that, by choosing writing as a profession, I have chosen a job where I am on call 24 hours a day, seven days a week. Many writers have a particular time of day when they write. Others have a writing target, a few lines or pages each day. Sometimes we meet the target, other times we don’t, but either way, we work. Every experience during our day, no matter how trivial is potential fodder for our next award winning novel. The interaction of our family at the dinner table may make for a more realistic scene description; a change in your neighbour’s routine may be inspiration for a story on domestic violence or murder. For me, watching my son enter a tunnel-like room at Brimstone Hill got me thinking of an adventure at this fortress.

Do you often find yourself walking through life as an observer, tucking away notes in the back of your mind for possible future use?

The One Writing Rule You “Must” Follow

I hear a lot of advice about writing. I listen to it all, though I don’t necessarily take it all. Here are some of the “rules” I’ve picked up over the years:

Show don’t tell.
Kill your darlings.
Avoid adverbs.
Never use clichés.
Ain’t ain’t a word.
Avoid Info Dumps.
Conflict on every page.
Use adjectives sparingly.
Don’t split infinitives.
Character trumps plot.
Avoid “ing” endings.
Never a day without a line.
Don’t open with description.
Never write in second person.
Don’t start sentences with “and” or “but.”
Characters must change during a story.
Dialogue should do more than one thing.
Develop a full biography for each character.
Never repeat salient words close to each other.
Use active rather than passive sentence structure.
The first word that pops into your head is the best word.
Always begin a story with people talking to each other.
Know every element of your story before you start writing.
Children and animals are naturally sympathetic characters.
Avoid authorial intrusions (Direct address from author to reader).

The truth is that none of these are rules. At best they are guidelines, and at worst they are straightjackets. The one absolute rule of writing is that there are no absolute rules. “Show don’t tell” is a good guideline but you can’t always follow it literally or your work would be unreadable. When you’re moving characters around in a story but the travel itself isn’t important, just tell it and get it done. The rule really means to “show” the interesting stuff. Otherwise your work will be weighed down with useless detail.

Never start a sentence with “and” or “but” is a bad rule. Sometimes those are perfect to start sentences with. Note every sentence, of course.

Never begin with description might be a good rule but it’s one I refuse to obey. I often start with description, and, for me, I hate, hate, hate books and stories that start with dialogue. I almost always put them down immediately.

Never use clichés is both a good and a bad rule, depending on the situation. Cliché description, like “red as a rose,” or “free as a bird,” is generally weak because readers have seen the phrasings so much that they don’t really process the meaning. However, sometimes having a character speak in clichés is just the right element to bring your story to life.

“In media res” is generally a good rule, I think, but it also depends on the genre. It’s a critical rule for thrillers, but not nearly as necessary in literary fiction. And when someone tells me to “never use adverbs” I counter with “never throw a tool out of your tool kit.”

One of the best things about writing, and one of the most intimidating, is the incredible freedom it affords you to do and say whatever you want. Certainly, you should listen to the advice of others. I’ve given plenty of advice myself, and I think it has been good advice. But don’t let anyone fool you into believing that guidelines are rules. It just ain’t so.

So, tell me, what are some of the other “rules” of writing that aren’t really rules? What have I missed?

BOOK TRAILER OR NOT?

Recently, my editor e-mailed me asking for my detailed promotional plan. This was the first time that I received this kind of request. I was surprised to receive this form. the spreadsheet consisted of my arranged book signings, radio and television appearances, and any writing programs that I plan to do once my next book is released. My editor asked for URLs for social networks like Twitter, FaceBook, and MySpace. She suggested I create a book trailer. I've seen book trailers and admired them, but I never felt inclined to create one of my own.

I've talked with several people who either create book trailers or have used them as a marketing tool. I learned that creating book trailers is a big business. But I still need more information and I hope you can help. Here are a few questions that I'd like you to consider and then answer.

1. Do book trailers influence your book buying?
2. Are you swayed by trailers?
3. What do you like to see in a trailer?
4. What catches your eye and holds your attention?
5. Do you go to You-tube to search for trailers or go to the author's website?
6. Do you consider them entertainment and advertisements like movie trailers?
7. Do you expect the characters from the books to look like the people in the trailers?

I'm very curious about what readers are looking for in a trailer. What interest readers and how detailed should the trailer be?

I'd love to hear from you. Let me know what you think about trailers and how they influence your buying? What appeals to you? What turns you off? Click on the link or e-mail me at karenwowens@gmail.com.

Remember, don't be a stranger.

Karen

A Birthday Gift

I celebrated a birthday last weekend. It was a quiet one spent at home doing routine chores; nothing like last year. But then, no matter what I did this year, nothing could top my birthday last year. You see, last year I received the best birthday gift a new author could ask for: the release of my debut novel, “A Marriage of Convenience.”

Lots of things have changed since then. Here are just a few.

1. My family has grown
Doesn’t sound like much but caring for a new baby greatly limits writing time.

2. I have become better organized
I used to keep all appointments in my head or on little papers here and there. Well with more things to do, including book promotions, I began having senior moments way too soon. I finally found putting appointments and notes in my blackberry was ideal for me.

3. I’ve published a second novel along with two other Novel Spaces authors.
(Yes 2009 was a great year for me).

4. I learned the meaning of WIP.

5. I’m a little more disciplined when it comes to work on my WIP, but still lag behind many.

6. I’m becoming internet savvy
Before my book was published I honestly didn’t quite know what a blog was. Since then I’ve navigated the blogosphere promoting my book. Now here I am blogging twice per month on Novel Spaces with some of the nicest authors in the business.

Before, I thought facebook and MySpace were social networks for teenagers. Well needing a contact point for readers and not having a web site, I joined facebook. Now I’ve been able to reconnect with old friends, make new friends, and interact with some of my readers. I’ve also joined Shelfari and Caribbean Literary Salon. I now know the utility of social networking.
***Note well I said, “I'm becoming internet savvy”. That’s because I’m not there yet (I don’t twitter).

7. My perception of authors has changed
My early perception of authors changed from the wealthy author to the starving artist, to the reclusive author with a typewriter, isolated from the world penning his stories. Now that I’ve met a few authors I realize they are no different from me. (Hey wait, I AM AN AUTHOR!). Most authors are not eccentric recluses. They just have stories to tell and the ability to tell them.

I also thought that authors worked competitively, hence were reluctant to share information with each other. Those misconceptions were cleared up after becoming a published author. I was surprised last year when the publishers put me in contact with another author who gave me tips for promotions, including showing me how to make book trailers myself. Most of all I’ve had the opportunity to connect with all these wonderful Novel Spaces authors who give advice and support with an empathetic ear.

Yes there are a lot of changes that came with being published. Some I embrace and some I am a little reluctant to embrace. But with all the changes there is one thing that did not change: I am no richer than I was before publishing.

How have you changed since becoming a published author?