Not Painted Into the Corner

Not the Author! DepositPhoto

Our topic this week is painting yourself into a corner, writingwise.

The best example of this I’ve ever seen is the opening sequence of the movie  “Jewel of the Nile”, where romance author Joan Wilder is writing the most fantastic pirate scene and it keeps building and building upon itself, more complications and worse problems for the plucky heroine and then…she’s trapped alone with a ship full of evil pirates and NO escape.

“I don’t know what the pirates do any more,” she says basically, in despair.

I have never, to the best of my recollection, painted myself into a corner in a book.

I sit down, I write the book over the course of a few weeks (now that I’m fulltime), I don’t have Michael Douglas in his prime to distract me, as ‘Joan Wilder’ did…I start out knowing the beginning, the ending, and a few key scenes along the way. I don’t end up in box canyons like the bad guys in old movie Westerns and I don’t have to rely on suspension of disbelief, as people had to do sometimes with the old movie serials, like Flash Gordon, as embodied by Buster Crabbe. One week the serial would end with him facing certain death or Dale Arden facing certain death and there’s no way Flash can reach her in time…and the next week’s episode starts off with her safe in his arms and no explanation given because of course, he’s FLASH. What? Eat your popcorn and don’t ask questions.

Yup, doesn’t happen to me when I write.  Somehow my faithful Muse and I avoid those issues. We might have other issues perhaps but not that one.

So I had exciting news last week. I was really honored and excited to receive a phone call telling me that Lady of the Nile, my 7th paranormal romance set in ancient Egypt, had been selected as a Finalist in the Romance Writers of America Fantasy Futuristic & Paranormal Chapter’s PRISM Award!

That’s exciting stuff to a writer in the FF&P romance genres…see the full list of Finalists in all categories here. Congratulations to everyone whose book Finalled! Winners will be announced at the national conference in July.

I write my ancient Egyptian tales as a labor of love – not that I don’t love my scifi romance books because I DO and those are my main focus and genre – but the reader audience for ancient world romance tends to be smaller, without much crossover between the SFR genre and this one. 

Here’s the story:

Tuya, a high ranking lady-in-waiting at Pharaoh’s court, lives a life of luxury, pageantry and boredom. Khian, a brave and honorable officer from the provinces temporarily re-assigned to Thebes, catches her eye at a gold of valor ceremony. As the pair are thrown together by circumstances, she finds herself unaccountably attracted to this man so unlike the haughty nobles she’s used to. But a life with Khian would mean leaving the court and giving up all that she’s worked so hard to attain. As she goes about her duties, Tuya struggles with her heart’s desires.

When Tuya is lured into a dangerous part of Thebes by her disgraced half-brother and kidnapped by unknown enemies of Egypt, Khian becomes her only hope. Pharaoh assigns him to bring the lady home. 

Aided by the gods, Khian races into the desert on the trail of the elusive kidnappers, hoping to find Tuya before it’s too late. Neither of them has any idea of the dark forces arrayed against them, nor the obstacles to be faced. An ancient evil from the long gone past wants to claim Tuya for its own purposes and won’t relinquish her easily. 

Can Khian find her in time? Will he and his uncanny allies be able to prevent her death? And if the couple escapes and reaches safety, what of their fledgling romance?

Buy Links:

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Breaking Through Being Stuck

Tis the season for daily thunderhead formation. Tis the season to get weather alerts on your cellphone saying, 'Lightning strike reported within 1 mile of your location' which is code for GET INSIDE STUPID.

Wish I could use this as a metaphor to segue into today's topic but that would imply a level of caffeination I have yet to achieve. But I can admit that this was my topic suggestion, because you know me. Always on the look out for new and better power tools to help me finish books. A year ago, I'd have told you I don't often get stuck on a book - not for long. Like Jeffe, I'd keep chipping away at my blocks, little pieces at a time. I didn't believe it was possible to write oneself into a corner.

I see you've noticed the past tense. Yeah, I honestly thought I'd done it this time. I'm six months past deadline. My outtakes file is twice the size of the manuscript. (But I'm closing in on The End. Again.) I've discovered a bunch of stuff in the process of working through my stuckness on this project.

1. It IS possible to write myself into a corner - BUT. That corner is a construct of my mind and when I'm staring at those walls closing in on me, the best way out is through those walls. That means questioning everything. Do I need this plot line? How about that one? Wait. How did this story thread get in here and what purpose does it serve? Zen tidbit for the day: Most of the prisons we find ourselves in are of our own making.
2. When you take a wrong turn at Albuquerque, you can go back and take that left turn. Or you can give up control of the story and see where it goes. I did that. When my alpha readers sent my first rough draft back to me with 'Whoa. Wrong turn!' I don't think they'd expected me to use that as an opportunity to back it all the way up and question everything. But I did. Because I need this story to be right. Fun? No. Necessary, nevertheless. 
3. Take a stab at plotting. I never, ever, ever want a repeat performance of trying to write this book. Never. Will plotting solve my problems? Dunno, but I do mean to find out. Gods know it can't make the process worse. (Which is not a challenge to the Universe, I swear.)

Being stuck requires an act of violence to break free. Please note that violence is to be visited up the manuscript - not upon oneself or anyone or anything else. I had to murder a lot of darlings to get at the core story. When I'd offed enough of them, I could see my way forward again. 

I say all of this as if I know what I'm doing. As if I'm not wracked by doubts and every 'yer doing it wrong' voice to ever have sullied this planet. Pro tip: The louder that nonsense is, the closer you are to doing the right thing by a story. Unless your alpha readers tell you otherwise. But only they get to judge. Not you. And certainly not those crappy voices. 

Staying Out of those Painted Corners

If you've been paying attention to me and my various babbling on writing, you know I'm a big fan of the outline.  I try to avoid the whole "paint myself in a corner" problem by sorting out the big path of the plot beforehand.  If I know the line of things from A to B to C and so on, I'm less likely to get lost in the weeds in the first place.  Now, that doesn't mean that sometimes things don't work, or I write a bit in one direction and go, "Wait, I need to go back and thread something else in here to be the way out."  
But I know how the whole story hangs together, and that's because I have the outline.  (And the outline of the larger arcs, etc.)  And the outline tends not to have plot cul-de-sacs or corners I paint myself into because it's got a solid structure.
I've talked about the twelve-part outline structure before, and it's the basic scaffolding I use to craft an outline.  Here it is:

1. Establishment: Show character(s) and initial situation. Here’s where you set up not only who your main character(s) is, but what the rules of the road are.  What is “normal” for your story?  If there is magic, for example, you need to let the reader know here.  Especially in a genre story, you need to make it clear what’s going on.
2. Incitement: Incident or new information spurs protagonist. This may be interwoven with Establishment, or exist on its own, but the important this is that the something changes to throw us out of the Established “normal” and gets the protagonist acting. 
3. Challenge: Minor antagonists come into play. You can’t throw the big guns at your protagonist yet.  Either your protagonist isn’t aware of the Big Bad yet, or doesn’t understand the scope of what is happening, or just plain isn’t ready for the big picture yet.
4. Altercation:  Conflict with minor antagonists.  Give your protagonist a hard-won victory, even if it’s minor or only symbolic.  This lets you show your protagonist as having the competence and drive to deserve being at the center of the story. 
5. Payback:  Minor antagonists report back to major, allowing a strike back.  That hard-won victory may have felt good, but it isn’t without consequences.  Perhaps it means that your Big Bad just re-evaluated your protagonist, and has elevated the threat level from Nuisance to Problem.
6. Regrouping: Protagonist reacts to the payback, possibly in an ineffective way; thinks confrontation is over, relaxes.  Here is where your protagonist has another victory, but not the victory they think they’ve had.  This is where they make a mistake, be it underestimating the antagonist, or just sloppy pride.  That deep character flaw you’ve woven into them is set up to bite them back.
7. Collapse: Protagonist loses stability and safety of base situation.  Everything falls apart.  Whatever your protagonist thought they could count on crumbles under their feet.   
8. Retreat: Protagonist must leave base situation to escape threat from main antagonist. Deal them that serious blow.  Force their hand.
9. Recovery: Protagonist establishes a new situation, enough to be stable and safe. You need to give them a chance to lick their wounds, figure out where they stand, and if they can accept that.
10. Investment: Personal reason forces protagonist back into fray with main antagonist—they won’t choose to walk away.  This is where you make your heroes.  At this stage, a lesser protagonist would cut their losses, admit defeat.  Your protagonist can’t do that.  It’s time to see this to the end.
11. Confrontation: Goes after main antagonist, partly to reclaim investment. Now you’re at the climax. 
12. Resolution: Defeat of main antagonist, which can create a new base situation or re-establish stability of original one.

If this is a useful tool for you, by all means, use it.  I developed it because I needed it in my toolbox, and it's been a very helpful thing for me.  If it helps you as well, all the better.

Getting unstuck when the muse lets you down

In the massive multiplayer online game Star Wars: The Old Republic, if you maneuver your character between boulders or buildings or something and get stuck, you can type in /stuck, and the game will magically transport you to a space where you can move your character freely again.

Writing? Sadly lacks that feature.

This week, our SFFseven topic is the one thing that helps us get unstuck in a story, but I'm going to adjust that topic a little. (Forgive me.) See, once I get going in a story, with a deadline in my pocket and a character arc in my head, I rarely get stuck. That point in the adventure is the sweet spot, the roller coaster at full speed. It's the between-story living that sticks me really hard. I'm talking about especially that stickiest of things: the will to write. Some folks call this the muse.

I've said I write because I can't not. Because I am a thing that writes. Because it's what I love to do. But, true confession: sometimes I'm not, and I don't. Sometimes I get stuck. Here are some things that have helped me, to varying degrees:

• Find the thing you love that isn't writing and do the crap out of it. Dance. Cook. Play games. Walk the dog. Reupholster your dining room chairs. 
• Read something other than the genre you write. When I read excellent books in my own subgenre, I inevitably get the "I can't do it this as well so why even try" blues. But if I read excellent books in another genre, like thriller or horror or literary meandering, I get energized and thoughts like, "This would be really cool if it also had robots. And kissing. Hey! I can make that happen!" And then ideas--and more importantly, enthusiasm--pour in.
• Develop go-to unsticking resources. A very wise and talented writer, Skyler White, has developed a game for getting unstuck. It involves identifying the sticky thing, turning it into a goal-positive, and coming up with ways you would be able to tell if it was getting less sticky. The preliminary documentation for this process is on her Facebook page, The Narrow Shed. I recommend it. A lot.
• Write fanfiction. I'm not even kidding. If you disdain the hobby, consider getting over that, because fic is the single best way to practice your art without the weight of "oh crap, I have to get this manuscript done and shop it and sell it and promote it and build a career with it." In fic you have no pressure. You can just make words. It is incredibly liberating.
• Find a friend who you trust, and who can handle this, and whine. Let that person whine back when they get stuck. Writing can be incredibly lonely, and most of us get low from time to time. But, quick protip: that trusted friend is not social media. Don't whine on social media. :)
• Be kind to you. You are worthy beyond the manuscript. Daily word count, reviews, sales, social media followers--these are not reflections on who you are as a person or, in many cases, as a writer. The pit of stuckness is easy enough to fall down without letting those outside things give you a push.

Hugs, you guys. We can get through all the stuck.  

Release Day: Prisoner of the Crown by @JeffeKennedy

It's a party here at the SFF Seven Authors' Blog as we celebrate the release of Jeffe's new book kickstarting her Chronicles of Dasnaria High Fantasy series!

**It is NOT a Romance.**

I don't tell you that to discourage you, dear reader. Far from it. I tell you so you are prepared for the type of heart-pounding adventure on which the Chronicles of Darnaria will take you. Afterall, Jeffe is an award-winning Fantasy Romance author; hell, she's won the top prize in Romancelandia for her work, a RITA Award. It's fair to assume her fans, many of whom are our blog readers, would think this new series is all HEA and smexytimes.

That is not this book.

When it comes to rich worldbuilding, nail-biting plot twists, and a heroine discovering her own value and power, well now, this IS that kind of book.

__________

PRISONER OF THE CROWN

She was raised to be beautiful, nothing more. And then the rules changed…

In icy Dasnaria, rival realm to the Twelve Kingdoms, a woman’s role is to give pleasure, produce heirs, and question nothing. But a plot to overthrow the emperor depends on the fate of his eldest daughter. And the treachery at its heart will change more than one carefully limited life…

THE GILDED CAGE

Princess Jenna has been raised in supreme luxury—and ignorance. Within the sweet-scented, golden confines of the palace seraglio, she’s never seen the sun, or a man, or even learned her numbers. But she’s been schooled enough in the paths to a woman’s power. When her betrothal is announced, she’s ready to begin the machinations that her mother promises will take Jenna from ornament to queen.

But the man named as Jenna’s husband is no innocent to be cozened or prince to charm. He’s a monster in human form, and the horrors of life under his thumb are clear within moments of her wedding vows. If Jenna is to live, she must somehow break free—and for one born to a soft prison, the way to cold, hard freedom will be a dangerous path indeed…

Read an excerpt here.

BUY IT NOW:   Amazon  |  B&N  |  iBooks |  Kobo

How not to paint yourself into a corner.

So what is the single most important thing I do to avoid getting stuck in a story? That's our subject this week. I don't know that there's only one thing.

Here's my challenge: I'm a pantser. I know where my story is going to go. I have a beginning and an ending and a few points in the middle. I like to compare my plot points to stepping stones across a stream. I WILL get where I'm going, though sometimes it takes a while.

Most of the time it's not an issue.

SO let's go over a few options and then I'll decide which one I like best.

First: Not too many projects at once. Listen, as far as I'm concerned that's a death blow to many a writer's career. That sounds awfully ominous, but only because it is. You want to work on three projects? Cool. But know how to work on them. I outline one (mentally, but sometimes I make notes), I write one (First draft, free form) and I edit another. On rare occasions, if I MUST, I'll add a fourth. I try very hard not to, because then everything slows down.

Spread yourself too thin, and nothing gets accomplished. Writing is a business. that means I'm already losing some of my writing time to handling the business aspects. currently I'm dealing with the reissue of my short story collection SLICES, which has only ever been out as a limited edition of 275 copies. Now I want to release it into the general populace as it were.But I'm doing it with a new cover, and discussing with the original artist, Alan M. Clark, whether or not I can use the interior pieces he did for the limited edition and how much that might cost me while also dealing with a different artist for the new cover, and whether or not he will be handling the layout for that cover. Dan Brereton is awesome and can doit all, but he also has time constraints as virtually all artists and writers do.

Im editing a short story, writing a rough draft of a novel, reading 700 short stories to choose from for an anthology, slowly and methodically laying out another short story collection and trying to finish three novels that are ALMOST DONE and have been for a few years now. Oh, and any time now I'll get the edits back on my last novel in the TIDES OF WAR and that will automatically take priority. Also, I'm finishing a collaborative novella with a friend of mine that is due in three weeks. the short story I am finishing up? That's due in five days.

I'm close to working on too much at one time.

Yes, I still have that day job, because I do so love insurance and a 401 K retirement plan. I may never retire, but you never know.

Second: I love remembering that this is the computer age. Know what that meansWhen I screw up a story I can save it under a new file, delete the last scene that went horribly wrong and try again without having to type the entire thing all over again! That's saved me a lot of nightmares, believe me.

Third: Prioritize! What is due first? Which of these are written on spec and which ones have a home already? Which ones are helping me pay the bills in the coming months. I already work on too may projects, but I need to make sure I get them done, regardless of amy risks of getting stuck.

Fourth: Shut off the internet, the radio and the television and FOCUS. Seriously. I think that one is my favorite. Getting distracted is far too easy. Writing without those distractions makes a big difference.


Fifth: Now and then, just for giggles, catch up on yoru sleep. You'd be amazed how useful that one is.

The Single Most Helpful Thing I Do When Stuck

Tuesday sees the release of PRISONER OF THE CROWN! There will be print (POD) versions available, too, but they won't appear on the retail sites until release day, Tuesday, June 12, 2018.

Our topic at the SFF Seven this week is: What's the single most helpful thing you do to keep from being stuck in a story? Or how not to paint yourself into a corner.

I don't think I've ever painted myself into a corner in a story. The closest I've come is when I'm writing books in the same world and with overlapping characters and timelines - occasionally I've had to do some major problem-solving to get events to match up correctly.

Otherwise... any time I've felt like I'm hitting a wall, that indicates to me that I'm coming up on a story breakthrough. The bigger the breakthrough, the more resistance I'll feel. I slow down. Getting words down can feel like pulling teeth. Sometimes I get very little done for a day or two. (Or more - that's the WORST.)

You know what I do then?

I keep writing.

That's the thing that works for me. And it works every time.

I'm a write-for-discovery writer, so if I just keep writing, I'll find my way through. I can't preplot to save my life. Ask me to outline on my own and I just sit there with a blank brain. Sometimes I can talk stuff through with other people. My agent, Sarah Younger, is actually pretty amazing at this.

(By the way, Sarah has started a podcast: So You Wanna Write a Romance and it's chock full of useful information. Check it out!)

But if I keep writing, the story will eventually reveal itself. Like a gift from the universe.

Compartmentalizing Is My Secret Super Power

As I understand it, this week’s topic is how we keep the creative writing activity walled off from the mundane but pressing concerns of life such as the bills, politics, climate change, the funny sound in the car’s transmission, etc. (Actually the title of the prompt is “How much space do you give emotional nonwriting labor? Which doesn’t make much sense to me.)

So, pressing forward without much internal clarity on the actual topic here…I’m very VERY good at compartmentalizing. Not sure if I’ve always been this way or if I acquired the skill in my first days on the job at the NASA Jet Propulsion Laboratory as a newly minted Buyer. The requisitions (in twelve colorful carbon copies) literally came pouring into my inbox all day long. I had to make calls to obtain quotes, return calls from vendors and impatient end users, had to write documentation for files, field calls from the reviewers (“Why didn’t the Buy American Act apply here? Where’s the Service Contract Act clause?” etc.). I had to walk over to Receiving and search for lost crates the vendor insisted had been accepted on the premises. There were meetings and presentations.  Oh and if the purchase order needed correcting? You had to use the correct color of ‘Wite Out” on each of those twelve rainbow-hued carbons. I had an army of ‘Wite Out” bottles on my desk.

Yup, busy.

And the frustrating thing was, you could never finish anything in one phone call or with one action because there were so many players involved. I like to pick a thing up, take care of it and move on, never looking back. Not possible with a lot of purchase orders in those days.

In order to survive, I got very good at breaking tasks down into component parts, doing what could be done at the given moment, setting it aside and moving to the next thing. I would not think about Stanley Scientist’s seriously overdue order of twelve crystals from Sweden until I got the next phone call on it or notice it had been delivered (but six were cracked and now we had to do a return…) I can click on and off on with regard to a topic or task.

NOT the evil alien scientist

When it comes to the writing, I sit down to write and I’m in the flow. The farthest thing from my mind will be the bills or the car or any other problem or issue other than the evil alien scientists menacing my heroine at the moment. If I were to allow the ‘emotional nonwriting labor’ to intrude, I wouldn’t BE writing because I wouldn’t be in the thick of the action on the alien planet. Flow interrupted. Muse departs for the day in a huff.

Sorry I have no useful tips or insights to offer here, since my compartmentalizing is just how I am, with a To Do list thrown into the mix. If you google the topic of learning to compartmentalize, lots of helpful blog posts and articles pop up. Apparently it can be a reaction to stress, among other things. Yup, that Buyer 1 job was stressful all right! But worth it to (a) pay the bills and (b) contribute to the scientific exploration of the universe. I loved being part of NASA/JPL and I’m really proud of my mission stickers, badges and pins. I was there and I played my business-oriented role in some very cool stuff.

Closing the blog post writing compartment now, time to move on to the next thing!

Note: Images other than cover art from DepositPhoto