How do our characters censor their world?

 I’m with Charissa on this topic…hmmm, f*ck. Instead, let’s all sit and watch Geralt together, shall we? 

That would be far more entertaining than discussing censorship. It’s both good and bad…which is also a bit like Geralt. Censoring is a benefit and hinderance in our society because it all depends on the personal opinions of who holds the power. And like the rulers The Witcher comes across, benevolence never seems to be the driving force behind what’s censored. 

To an extent, anyone with power/responsibilities censors what is revealed or passed down the chain. So, how do our characters censor what’s around them? 

Choosing an action based on personal goals is human. Choosing an action based on the good of others is heroic. And that’s why we write our characters with a mix of human and heroic traits. 

Who wants to read about a Captain America who never errs? He’s the good guy who will censor the bad guys to protect the innocent…until Cap’s intentions cross the line and his censoring ends up hurting people. 

We want to read about the ones who save the day, but we don’t want them to be perfect because then we can’t see ourselves in them. And as a writer you want your reader to connect with your MCs and be able to imagine themselves in their shoes. 

No, this isn’t anything new. But bring bits and pieces of the real world into your writing and give your characters flaws. Let those characters with power censor away, and give your MCs the power to deflect or protect.

And now, let’s all go watch Geralt!

Seriously, if you haven’t read this series and are into high fantasy…HERE!!

What Would You Write If You Weren't Afraid?

 

 I'm working away on my novella for the FIRE OF THE FROST midwinter holiday fantasy romance anthology! The story takes place in the Bonds of Magic world more or less at the same time as the events in DARK WIZARD. You can preorder now for the December 2 release!

    

Also, this is really cool! THE ORCHID THRONE is on this amazing Book Riot list: 20 OF THE BEST ENEMIES-TO-LOVERS FANTASY BOOKS. Fair warning! This list might have you click-buying. It sure did for me. 

At the SFF Seven this week we're talking censorship. Charissa and KAK already provided excellent discussions of the difference between censorship and blocking disinformation and hate. So, I'm going to take the topic in a slightly different direction, which is looking at the ways we censor ourselves. 

A perennial problem for writers - perhaps for all creatives - is getting rid of the other voices in our heads. Something new authors often seem to ask is how to write about topics their families consider off limits for one reason or another. They can be concerned about dealing with sexual topics or gender-related ones, politics, family secrets, etc. It's not easy to free ourselves to write when there's that persistent worry that someone we love will read it and be angry. And so we censor ourselves, sometimes consciously, sometimes unconsciously. 

On a larger scale, we live in an era of loud voices. In an attention economy, where businesses thrive or fail based on clicks, the loudest, most persistent voices can be the most lucrative. This kind of environment isn't conducive to the silence creatives need in order to coax new art into being. Those loud voices can drown out the quiet whispers of something fragile and newly born to the world. The voices can also leak into our thoughts and dictate what we should and shouldn't write. Thus we censor ourselves, killing those new sprouts before we even have time to discover what they are.

What's the solution? There are no easy answers. I can offer that I have a poster hanging over my desk, one I made myself. It says:

What would you write if you weren't afraid?

I look at it often when I hesitate, when voices leak into my head, when I start worrying about the final story and how it will be received. It keeps me going. 

Write through the fear. You can always edit later. 

The Abuse of Censorship

Should censorship be a four-letter word?

Eeeeuhm. There's a loaded question. We have a knee-jerk reaction to the term "censorship" because we see it being abused as a political weapon and a tool of suppression for civil rights and social progress. What we tend to forget are the instances where censorship is beneficial and necessary. There are reasons How To Be A Pedophile and Maintaining The Upper Hand: The Benefits of Beating Your Wife aren't readily accessible to the mainstream. One has to go deep into the troll dungeons to find that shit. 

There are different types of censorship: government, religious, and free-market being the most obvious. While we want to chafe against any institution trying to control what we can and cannot access, we do so from within a space that's already been protected from the deluge of horrific crap. When the crap barriers weaken, we get things like Facebook and YouTube with their enabling and promotion of bad actors. 

So, short answer, no, "censorship" is not a four-letter word. Censorship is built upon the gray wobbly foundation of "morality." Alas, mortality is gleefully exploited by those lacking it. The ways to combat censorship abuse...would require me to write multiple doctoral theses. The shortest and most glib answer is "follow the money then take it away."

Hmm...F*CK

This week's topic here at the SFF Seven is 'Should censorship be a four-letter word?' My response when I read that was very much a Geralt of Rivia moment--Hmm, F*CK.

I'll be honest. I'm not sure what this topic even means. I think it means--Should censorship be something we don't say or talk about? But I like four-letter words, so my entire understanding of this question is probably different from what it should be. Also, this subject can get really expansive, so I'll be brief.

What I'll say is this: Censorship means different things to different people, usually based on their politics and sometimes (often) religion. Someone might fight the school board to remove a book with gay characters from the school library. This is an attempt to censor what people read based on personal beliefs. It is not a danger to expose and educate kids on diversity and tough topics--people and parts of the world they live in. It can build empathy and understanding--these are good things. If parents think it's harmful, they can discuss that with their children. What IS dangerous is promoting hate speech or books that promote hate against marginalized communities. 

It really isn't hard. If So and So Author wants to publish a book that promotes neo-Nazi activity, it shouldn't be a surprise if this is prevented or the book rejected or removed from libraries or schools. Decisions should be based on certain professional judgments and standards, not government or religious beliefs and not even on personal taste or because someone doesn't like the ideas presented. 

Also...people. Not educating your kids about the real world around them is doing them a tremendous disservice. 

NOW TO A HAPPIER TOPIC!

I'm announcing a couple of cool things this week on Instagram, so if you don't follow me, come say hi! 

One cool thing that I'll post here is that I received an author blurb from the AMAZING Juliet Marillier, who I admire so much. I was so nervous the entire time she was reading my book ;) But I think it turned out okay!

"If you like your fantasy with complex magic, an intriguing protagonist, a powerful romance, and a great cast of supporting characters, I highly recommend The Witch Collector. Charissa Weaks's high-stakes storytelling will leave you waiting eagerly for the next installment." — Juliet Marillier, award-winning author of the Warrior Bards series

If you'd like to pre-order the ebook or purchase the paperback, check here for links. BUT, that cool news? It might be about another reading option, so check out my Insta tomorrow!

I hope you all have a fabulous week!

What I Write Before I Write

 

I can tell you all about what I write before I start writing a draft of a book. But the fact is that I'm in the market at the moment. What I've been doing is inadequate to the way my life works right now. Flux is the kindest word I can conjure. Here's what I've done in the past, though:

Nothing. I jump in. I usually have a concept. From that concept, I see if I can write three chapters as a proof of concept. If I can do that, THEN I stop and go back to pre-writing work. That comes in the form of super in-depth character templates. I use the ones from Break into Fiction by Mary Buckham. They begin and end with what drives your characters. It's a lot of psychology and delving into old psychic wounds. It's really great if you're a character driven writer. It worked brilliantly for me for years - years I didn't have an overwhelming full time job, and aging parents living with me. It worked when I had time and brain space for staying immersed in the characters and their feelz.

Those days are gone for the moment. I can either admit that, or I can go on wasting my life waiting for it to 'get better'. What I need now is a means for adding a plot outline or a necessary scene list so I can maximize the tiny windows of writing time I do have. The downfall of the character templates is that they leave your story open - you can still pants your way through a book with character drives and emotions and wounds. That's fine - it's just a bigger investment in time, in my experience. Lovely if you have the privilege. Less so if you're working three jobs.

Maybe this is where writing goes from being self-indulgent fun thing to wallow around in and explore. Maybe under duress, it grows up into something a little more -- I don't know. Packaged? I feel like I'm asking for creative briefs for my own content. Oh hey, did I mention I'm a technical writer for the day job? Yeah. That's all packaged. It's my job to interview the person who hired us and find out what they want in a piece of writing (and when and for how much). Then I find out what source material they have to teach me and the other writers about the product we'll write about. I'm proposing using the character templates as my source material to teach me about my own content. My goal now is to come up with a clearly defined definition of what's required in the end product based on what I know from the source material and what I know about what I'll find fun and interesting about the story.

I mean it *sounds* like a good idea.

Here's hoping it'll do the job. Cause what's happening (or not) right now, just ain't working.

Before Chapter One: Outline

 How do you start a book? 

That seems to be the most common question I get asked once it becomes known I’m a writer. And it also happens that this week’s topic is Before Chapter One: What do you have in place before you start drafting?

I may not physically be a laboratorian any longer, but inside I’ll always and forever be a lab girl. And lab people follow the procedure! Each step of the way. 

Step one, for me which means YMMV: outline

It seems like I’m in the minority when talking to others in the writing community. I love having an outline. I love knowing the main plot points from beginning to end. I love being able to see the story’s loose form right away and watch it tighten into a solid novel. 

I’m going off the before you start drafting here. Because technically before I do an outline or being my detailed synopsis, I have a scene in my mind. It’s always in full technicolor—meaning I can see, smell, feel, and hear everything in that scene. 

Preferably, I want that key scene to marinate in my brain for a good 3-6 months before I explore it further. And I really want to have a story idea for a solid year before I start writing it. I find that the words flow out of me much easier if I take the time to do that. 

Once I have the scene and MCs (main characters) formed, I do a three act outline and from there I start my synopsis which usually rounds out around 6 pages. From there I break the synopsis into chapters so I have at least one sentence for each one. As this process is happening I’m researching names and places and adding images to their respective folder in Scrivener. 

Does anyone else pre-plan the crap out of their novel? And if you do, how much do you put into your program/Scrivener? 

FIRE OF THE FROST Cover Reveal!

Cover reveal!!!

I'm super excited to share the cover for FIRE OF THE FROST! Out December 2, 2021, this midwinter holiday fantasy romance anthology includes stories from the fabulous Darynda Jones, Amanda Bouchet, Grace Draven and myself. You can preorder the ebook now from all the major retailers (iBooks coming soon) and the print preorder through my webstore. (There will be print available from the other retailers eventually, but not until release day.)

   

From Darynda Jones, a standalone novella set in a world where vampyres are hunted for sport. The only thing standing between them and total annihilation is Winter, a warrior bred to save them from extinction. Forbidden to fall in love, Winter cares only about her oaths… until she meets the devilish prince of the underworld.

Amanda Bouchet transports The Kingmaker Chronicles to modern-day New York City. An exiled warrior finds himself in the Big Apple just before the holidays. On a vital mission for Athena, he meets an imperiled French teacher from Connecticut, and soon they’re knee-deep in inexplicable phenomena.

Grace Draven brings a novella-length expansion of a stand-alone short story in which a cursed mage-king from a frozen kingdom is obligated to marry a woman of high-ranking nobility but meets his soulmate in a lowly scribe.

From Jeffe Kennedy comes a standalone novella in the Dark Wizard world, where an ancient holiday is resurrected and clandestine lovers find the courage to pursue forbidden joy.

   

This week at the SFF Seven our topic is: Before Chapter One. We're asking each other, "What do you have in place before you start drafting? Inspiration board? Top-level plot bullets? Full outline? Flushed out Character Profiles? Etc."

This is kind of funny for me to answer today because I'm starting Chapter One on the novella for this anthology. And yes, it will be Chapter One, because I'm a linear writer. What do I know about the story at this point? I know this: 

It's set in my Dark Wizard world (Bonds of Magic), where an ancient holiday is resurrected and clandestine lovers find the courage to pursue forbidden joy.

Heh. I had to figure out that much so I had something to say for the reveal.

At least I know the world? That's because I've already written and published the first two books in the Bonds of Magic series, DARK WIZARD and BRIGHT FAMILIAR. My as-yet-untitled story in FIRE OF THE FROST occurs away from the protagonists of the main arc, but I don't know yet who the characters will be. This is a departure for me as I start with character 99% of the time. So, this will be interesting!

But my short answer to the question is: nothing. Pretty much all I have before I start drafting is a twinkle in my eye, as it were. 

Let it shine, baby. Let it shine!

Before Chapter One: Skeletal Plotting

Before Chapter One: What do I have in place before I start drafting? Inspiration board, plot bullets, full outline, character profiles, etc?

Hello, my name is KAK, and I'm a skeletal plotter. That means before I start drafting I have something between plot bullets and a full outline. I know if the book is a stand-alone or part of a series, and the respective story arcs. I know my primary and secondary character names, dominant attributes, and points of introduction. I know what relationship and purpose those characters have with the main character. I have a vague idea of setting/environment. I know the highlights of the magic system and if there are magical creatures. I know the plot's three arcs and the ending. I have a primary theme/purpose for every chapter, thus I know the path of the primary plot. I also highlight relationship milestones/changes/challenges chapter-by-chapter.

I also know that 60% of that outline isn't going to reflect the final story once it's drafted. It's okay. The 40% that remains is what keeps the story on track. The 60% isn't wasted effort; it's the flexibility that still allows me the wonder and enjoyment of discovery without jumping off the rails.