Motivated by the positive

When I read the topic this week – writing quotes that are inspirational or motivational – at first all I could think about was that Steven Wright quote: “I’m writing a book. I've got the page numbers done.” Which, you know, isn’t extremely motivational. (Even it is so true.)

Then I thought about Dr Seuss. If Seuss isn’t a kick in the hiney, I don’t know who is. So I read through Oh the Places You’ll Go and … it was actually a bit of a downer. Every time he builds up to a “yeah, you rock, kid,” he follows on immediately with, “except, no. Just kidding.” I think the thing we’re supposed to take from the book, overall, is that life ain’t easy, but it’s worth it? Or something like that?

I’d like to be the sort of person who stubbornly, spectacularly defies criticism, is fueled by rejection, who gets knocked down but then gets up again, just like in that song (which may now be in your head for the rest of the day; sorry). But I’m not that person. Negative sucks the motivation right out of me and leaves me a pile of donut-eating who-even-cares.

So, what does work?

I’ll be honest, I don’t have a wall-sticker over my desk that motivates me, and I’m not huge on personal goal-making and aiming for the bleachers and peppy stuff like that. What I do have is a file folder with a bunch of emails and screenshots in it. In those files are comments from contest judges, critique partners, agents and editors who rejected my work kindly and had nice things to say, agents and editors who didn’t reject and also had nice things to say, professional reviewers and all their pretty stars, readers who were entertained enough to tell me about it … basically, a bright, blooming collage of positivity.

This is my go-to treasure box when my self-confidence gets low. I can pull out these priceless words, read them, and think, hey, maybe I don’t suck. Maybe this adventure is worth it. Maybe someone, someday will want to read this steaming pile of work-in-progress. That person might even like it. Might even like it so much that they sit down and type out a note to me, letting me know the pile isn’t quite so steamy. Or at least the in-a-good-way kind of steamy.

I guess that’s it for me, then. The good. I celebrate all the good, even several times, because once is never enough. Every nice word, I tuck it safe in my file folder of happiness, and it motivates me for days, weeks, years, always.

In other words, if you’ve taken the time to send an email or to leave a review or to contact me at all, Thank You. You have no idea what your gift has meant to me.

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p.s. - This has nothing to do with the topic, but a super cool thing happened yesterday and I am celebrating -- BECAUSE WE MUST CELEBRATE ALL THE THINGS: my debut book, Wanted and Wired, was released as an audiobook. The narrator, Johanna Parker, performed the Sookie Stackhouse books and is so amazingly talented. I've grabbed a copy and can't wait to see what Ms Parker has done with the interpretation.

Release Day: The Snows of Windroven by @JeffeKennedy

Jeffe is breaking free...of an anthology and releasing her story The Snows of Windroven as a standalone. Told in the world of the Twelve Kingdoms, it takes place between Tears of the Rose and The Edge of the Blade.

THE SNOWS OF WINDROVEN 
A new power is at work in the Twelve Kingdoms, unbalancing the fragile peace. For the High Queen and her sisters, it might mean a new alliance—or the end of the love of a lifetime…

As a howling blizzard batters the mountain keep of Windroven, Ami, Queen of Avonlidgh, and her unofficial consort Ash face their own storm. Their passion saved them from despair, but Ash knows a scarred, jumpy ex-convict isn’t the companion his queen needs. He’s been bracing himself for the end since their liaison began. When it finally comes, the shattering of his heart is almost a relief.

With a man haunted by nightmares and silent as stone, Ami knows only that Ash’s wounds are his own to hide or reveal. She can’t command trust. But just as they are moving apart, a vicious attack confines them together, snowbound and isolated with an ancient force awakening within Windroven itself. If they truly mean to break their bond, Ami and Ash must first burn through a midwinter that will test every instinct—and bring temptation all too near…

BUY IT NOW: Amazon |   Kobo   |   Smashwords

Favorite Motivational Post

It's simple, really: You can cut it a hundred different ways, but at the end of the day it comes down to this simple statement. JUST DO IT!

That's all. If you have a dream, follow it If you have a story to tell, tell it. Sit down, write. Repeat as necessary until the job is done. Then, when the first draft is finished, move on to another project for a few weeks, go back to that first project and edit.

Why?

Fresh eyes. You can't see the mistakes you're making until you  have a chance to clear your mental palette of all the colors and phrases you've been painting with. You have to gain a little distance. In a crush you can always have someone else edit, but I think it's better on the first pass if you do it yourself.

here are four variations of the same theme. None of them created by me but all of them using my likeness. According to some people I am very motivational. I have no idea why.

Is Fear Holding You Back in Your Writing?

Today is the very last day to catch the AMID THE WINTER SNOW anthology. After today it goes off sale and the stories will only be available as stand-alones.

Our topic at the SFF Seven this week is Our Favorite Motivational/Inspirational Quote.

Mine is so beloved that I have it hanging over my desk. Let me all-cap it for you.

WHAT WOULD YOU WRITE IF YOU WEREN'T AFRAID?

Any time I hesitate while writing, I look at that. And, liberated, I plow forward.

Now, sometimes when I talk about this, people tell me they aren't afraid of anything, certainly not in their writing. Which is fabulous, I guess.

(Really, I don't believe them.)

It's human nature to be afraid. Fear is a protective instinct that kept us from being munched by tigers back in the day and keeps us in the clear with the IRS now. Being afraid of the right things is healthy.

And I'm not talking about gibbering terror. I mean things like being nervous about walking down that skeezy looking dark alley or hesitating over a funky-smelling leftover from the fridge. Those things are warnings to think twice.

The problem is that we become conditioned to hesitate over social gaffes, too. After all, on an instinctual level, being outcast from the herd means the wolves can get us. In the age of social media, we worry about reactions from other people from sneering reviews to mass outrage.

Some of that is important. We need to observe our own biases and review what our privilege leads us to unthinkingly do and say. But that's for a later stage of the work - for review and thoughtful revision.

Before that, we owe it to ourselves and our creative process to disengage from caution and hesitation, to write what comes out. To write what is in us and wants to be spoken.

Write with courage and boldness, always.

The Single Minded Author

Depositphoto

Our topic this week is whether we write in other media than our current one, which for me is fiction novels.

(Do blog posts count? I write a TON of those, for various platforms.)

I have to say that the action/adventure/romance novel is my natural habitat as a writer and the only thing I have any burning desire to write.

I wrote one poem, an epic fantasy, in iambic pentameter, for a college English class. I’m not a poet in any way, shape or form.

I wrote one speech and gave it twice in high school.

I wrote three plays in high school, two of which were performed once each. My principle memory of the experiences is that they ran wayyyyy short of the desired time slots, much to everyone's surprise. I have no idea why. I’m not a playwright! All three of these cases were the infamous  scenario - “we need a senior day play” or “we need a Christmas pageant” and hey, she likes to write, she can do it. Uh, no. Not so well.

I wrote articles and columns for the high school newspaper.

In the day job at JPL I wrote copious amounts of nonfiction. I wrote contracts, purchase orders, procurement justifications, official letters, draft policies and procedures, employee evaluations, change management plans, strategic plans, Non Disclosure Agreements, audit plans, audit findings, responses to audits, summaries of meetings, class materials, Powerpoint decks galore, memoranda to the file…probably thousands of documents and millions of words over the years. Because we actually worked for Caltech, on a NASA contract, the standards were exacting and the expectations high. All the subject matter was discreet, business sensitive, confidential, so nope, can’t share any juicy anecdotes or details. Sorry!

It was the job, I did it, I’m very good at writing a cogent nonfiction document if I say so myself, but it sure isn’t my passion.

I can't draw, dance, sculpt, knit, compose music...trying to be exhaustive here...

So, the shorter answer would be no, I don’t write – or create - in any media or format other than novels of fiction. I only hit the 'flow' state when I'm immersed in one of my scifi or paranormal worlds, telling the story at hand.

Depositphoto

Story Telling Alternative History

"Like to a friar bold Robin Hood

disguised himself one day,

with beads, gown, hood and crucifix

he passed upon the way."

Ah! Well met, traveler! Welcome ye to Camlann. We be Bawdry and Bliss, mynstrels come at Lord Geoffry's gracious invitation to these jousts and festivities.  Why Bawdry and Bliss say you? For we sing each in near equal measure - ballads of courtly love and fine deeds - as well as tales clever maidens pitting their wits against the lecherous - all for your enjoyment and edification.

I wish I had the photos that are currently buried in the storage unit so I could prove that not so long ago, I lived a life as a medieval minstrel in an English village circa 1374. And though I was born a noble woman, and the sumptuary laws of the land required I dress as such, the lead minstrel, Roger of Glastonbury, had accepted my kinsmans' charge to escort me to Lord Geoffry's court where I would take my place as a companion to his own young wife. Though it was not at all proper for me to do something as common as perform with a group of minstrels, when Roger discovered I'd learned all the songs and could even carry a tune, I often sang  in places where no word would ever reach my father's court, even though, I wore the petticoats, fine silken coat and rich velvet surcoat of my station. When we arrived at Camlann, Lord Geoffry's lady was so pleased by the music, no fuss was made over the potential ruin of my virtue and reputation. A willing knight with a musical bent petitioned Lord Geoffry for my hand and in the midst of late summer festivals, we were wed. Roger of Glastonbury settled in Camlann and became hosteler of the Bors Hede Inne. Thomas and Michela vanished into the countryside, still singing, though they do return to Camlann come the feast days. And we do once again sing of Robin Hood's Golden Prize.

So there you go. Though it wasn't writing, per se, working at Camlann Medieval Village was keeping oral history. For that was a minstrel's main purpose during medieval times when precious few people could read or write. The songs, ballads, morality tales and recitations of brave and noble deeds were the libraries of the day. And for me, when I auditioned for the living history village outside of Seattle, getting hired into the cast sent me on a multiyear journey into making history live. I really *shouldn't* have been in a noble woman's clothes, but Roger (really the name of the man who runs the educational society that is Camlann) was short cast members and needed me to act as one of the noble ladies during the fights. We simply didn't have time for a costume change before I had to be on stage with Bawdry and Bliss to sing. So we concocted an elaborate story explaining it and worked it for years. 

The difference was that while I could make up whatever stories I wanted as an actor in the village, when we sang, we were performing other peoples' stories. It was still story telling. My noble woman's story took on enough of a life of its own that I even started writing it down at one point. Don't know that it will ever see the light of day. Mostly because I learned useless stuff like 'ye, thee, and thou' are singular - only referring to one person, while 'you' was plural - only referring to groups of people. Those rules are still in my head and I'd write that way. Plenty of critique partners have informed me that no one wants to have to read that. So maybe my noble minstrel will just stay in 1374.

Different Mediums of Writing: I Once Was A Playwright

So, my bio says "playwright" evening though I've not done much playwriting of late.  And most of my plays have been short ones, which is funny, because I don't think I'm very good at short stories, but I can do short plays pretty well.

For a long while, I regularly participated in the "Out of Ink" project, where we would receive a set of three "ingredients" for a play on Friday evening, and by Sunday afternoon we were supposed to have written a ten-minute play based on those ingredients, and then eight were chosen for a workshop production. Here's a smattering of my favorites from those plays.

2000:  Last Train Out of Illinois  My first year with Scriptworks, the rules involved boots, a character directly addressing the audience, and someone performing an “aria”.  I had, at the time, had the vague idea of a Tom Waitsish Musical called “Last Train Out of Illinois”, but all I had was Atmosphere and an Ending. Which is just fine for a ten-minute piece.
2003: Danger Girl’s Night Off  The rules dictated 1. something involving superheroes and 2. a seduction, so I immediately thought of a grown-up sidekick who just wanted to have a date night.  This was a lot of fun. 
2007: Hourglass  I’m really pleased with this one.  The rules involved 1. A physical transformation on stage, 2. a secret and 3. a piece of music connecting to a memory.  This may have been, for me, the most synergous set of rules.  The discovery of an old hourglass reminds an old woman of the true paternity of her child.  Hannah Kenah did really lovely work on stage going from 107 to 20.
2008: Ten Minutes Ago   The play goes backwards!  That was the rule that had to define this one.  The idea I was struck with here was having an innocuous instigation (a woman answering her door) lead to events that had disastrous consequences (her husband and a stranger dead in her living room), and then show it Consequences-Events-Instigation.  This one was challenging to stage, but enjoyable.
2010: Entropy  “Time is Running Out”, “Use the Beginning and End of Finnegan’s Wake” and “A Ceremony of Forgetting”.  How does this NOT say “two people stuck in a time loop”?  OK, it does to me, because I’m a sci-fi geek.
2011: Slept the Whole Way Again, the rules sent me to an SF place: the play needed to span 3000 years and have 300 characters.  So a cryosleep ship that missed its target and kept everyone in stasis for 3000 years made perfect sense to me.
2013: The Observer Effect This grew out a strange idea of someone being labeled "history's greatest monster" due to a mistake-- and ultimately not even their own mistake.  It's deeply silly. 

So, here's the thing-- if you're in a play-producing mood?  You got a need or hankering to put on a ten-minute play?  Especially in a science-fictional venue, as most of these are sci-fi plays?  HAVE AT 'EM.  Seriously, you want to produce them, go for it. They're silly, they're fun, and they tend to be production-cost light.  Only rule I have is: let me know. That's it. 

I do kind of miss playwriting.  Someday I'll do another one, or pull out one of the ones I wrote and never produced and give it another polishing pass.  But right now, I've got enough things on my plate.  Back down to the word mines.

"You're grammar sux" and other universal writing truths

Mostly these days, I novel and social media (and make up verbs). In the past I have short-storied,

fanficc’d, blogged, edited/rewritten, developed technical manuals, produced academic books and papers, and taken the occasional stab at corporate marketingspeak. I’ve worked in APA, AP, Chicago, MLA, Microsoft, and a bunch of house styles. Across all these different kinds of written communication, here’s some stuff I’ve learned:

• There are reasons everyone except AP-style aficionados are devoted to serial commas. (Sorry, journalism students, the serial comma really does make things clearer.)
• The ability to create a compelling novel does not translate into a similar talent for composing back-cover copy, aka “blurbs.” That is a totally different kind of writing, and most of us novelists have no clue what we’re doing in marketingland.
• An English degree does not confer magical ability to use a semicolon. Probably best you don’t.
•  People who don’t know what a dangling participle is aren’t stupid. Sometimes they’re the brightest minds in their field, and they deserve respect. (And possibly a gentle suggestion for fixing the dangle.)
• Technical styles often restrict sentences to 20 to 30 words max. Even for novelists, it isn’t a bad idea to count words in a sentence that seems long. If you catch one with more than 35 words, it’s probably confusing to readers, no matter what you’re writing.
• I thought I was good at telling a story through dialogue. Then I took a screenwriting class. Whoa. Just because you can do one does not mean you can necessarily do the other. (See item on back-cover copy above.)
• Microsoft Word and other grammar/spelling checkers do not fix usage errors. Or, to quote The Princess Bride: “You keep using that word. I do not think it means what you think it means.” (Phenomenon also known as, Editors Are Our Friends.)
• If you write a thing and the reader understands the point you were trying to make and reacts in a way you wanted, you win. Full stop. End discussion. 

This list could go on forever, hyperbolically, but I’ll cut it off now. Any universal-to-all-media writing bits you’ve picked up and want to vent discuss?