Just for the Fun of It

 Creativity is rarely sticks to a single track. Writing may be my major means of processing the world and my experiences of it, but once you start getting paid for a creative endeavor, it's vital to have other creative outlets. It's especially vital to have have creative outlets that have zero pressure on them. We all need space to for Beginner's Mind. We all need space to experiment and try things without any expectations around the outcome. It's necessary to do things where you've given yourself permission to do them simply because you enjoy them - even and especially if you do them badly. I think it's super important to do things where enjoyment and outcome are divorced from one another. Most of us who write started writing simply because we enjoyed it. We enjoyed the process of telling a story, even if the story we told was riddled with errors or lacked conflict or a character arc. We just wrote because it was fun.

Then one day, someone sat up and said, hey, I'll pay you for that story! Also, I want to pay you to write it again! Exactly like this one, only different! But I need  you to do it three days! GO!

The pressure to Get It Right (TM) is real and it's heavy. So yes. Having other creative places to go for rest and fun matter. When it comes to creative activity other than writing, I'm a bit of a dilettante.

Most of the time, I cook or bake. This morning, it was a thrown-together, totally made up vegan buckwheat pancake batter. Hit out of the park, too. Usually, preference is given to recipes I haven't tried before, and I like the complicated ones with a reasonable chance of failure. Yeah, I don't know why. I like the experimental nature of it, I guess. I like going into the process knowing there's a chance it will be inedible at the end - or I'm going to end up with something tasty. Either way, it weirdly takes a lot of pressure off. I cop to having a tic about NEW. I crave new. Given a choice between something I've done or eaten before and something new, I will almost always go with the new thing just for the dopamine hit of new experience.

I'm not entirely sure this is a creative pursuit, but I garden. I like painting with flowers and getting my

hands in the dirt. I'm trying to build something aesthetically pleasing (to me) and that feeds to pollinators. Failure is definitely a thing here because Florida's planting and growing season is reversed from just about every place else in the US. Summer is when everything dies. Or rots because of the combination of heat and humidity. I'm still learning the vagaries. But at the moment, the front yard looks pretty good. 

I paint. Pictures. Rooms. Rescued furniture. Unicorn Spit is my friend. Yes, it's a paint brand. I'm also fond of Dixie Belle paints. Also let me note that while I'm pretty darned good at painting a room, all other painting is done poorly. There's a reason I only rehab rescued furniture. I need cheap canvases so I can try things and make mistakes and learn without destroying something that cost actual money. I've tried paint pours and while I love the results, it's expensive from a paint standpoint. It's a resource intensive method and I'm not to the point where I can justify that kind of outgo for experiments and learning curve.

On low spoon days, I might take pictures. They won't be anything special usually and if they are something special it's a complete accident. Yes, I look for perspectives and shots that intrigue me, but I utterly lack the gene that could make me care about F-stops and Apertures.

When I need something more active, I dance. Badly. But the point of dancing isn't to be good. Or beautiful. It's not ballet. Modern, maybe. Anything I feel like, definitely. It's good therapy. I find it particularly useful for handling anger. It's cleansing in a way other activities might not always be. I have to be in a spiteful mental space for dance though, because I have to not care at all what anyone else thinks or says. And I have to not care that my music might not be to everyone's taste. There are days that the Too bad, so sad energy is a nice, healthy reset. (I mean, obviously not when someone is ill or trying to sleep - this is why the gods created noise cancelling headphones.)

All of these creative pursuits feed my main creative drive to write. They keep me from going too crazy when writing isn't going the way I want. Occasionally, I'll be in the middle of one of them and unbidden, some story tidbit will poke its head up and volunteer a story snippet. But whether that happens or not, each of these activities are worth spending time on in their own right. Just don't ask me to sew. I really, really suck at that.

Making Things Grow

Jeffe had a great post yesterday, check it out. She talked about the need to have a creative outlet not connected to the job of writing—and I completely agree with that! 

Writing started out as my creative outlet, but when it morphed into a job I began gardening. 

In a way, gardening is a lot like writing. I love starting plants from seeds. Itty bitty ones, curvy pods, large seeds, sharp seeds, and everything in between! Much like the first story idea transforms into a full grown novel, the seeds look nothing like the plants they make. 

Gardening has become quite the obsession actually. I pour over seed catalogues and want to try all of the new varieties and plants I see. I’ll never have enough plants and am happily noting what I like and what I’ll pass on growing again…at least for now. And as I’m gardening, hands deep in the soil, my brain meanders and explores new worlds. I can’t tell you how many plot hole epiphanies I’ve had in the middle of my garden! 

So when I can’t make words, I go check on my plants. When my brain is fried from stringing together too many words, I watch the bees buzz around my flowers. And when an idea strikes me, I reach into my garden bag and grab my notebook. 

A match made in heaven. 

What do you make when you’re not making words?

Preventing Burnout with Non-Monetized Creativity

 If you missed it, SHADOW WIZARD is now available for preorder! It releases September 29, 2022. This is Book One in my new trilogy, Renegades of Magic, and continues the story begun in the Bonds of Magic trilogy. Preorder links below!

     

 

Our topic this week at the SFF Seven involves our non-writing hobbies.

 

In various discussions around burn-out and sustainably productive writing habits, I've discovered that many professional authors (as in, getting paid to do it) have another creative outlet that is non-monetized. Ted Kooser, a U.S. Poet Laureate (1004-1006), told me that he painted as a hobby. His paintings were apparently glorious and much-sought, but he'd made the decision to only give them away. It was important to him to have a creative outlet that wasn't connected to money. This was a startling thought to me at the time, and one I've come back to often. 

 

Other authors I've talked with in various scenarios have also discovered that approach: that having a non-monetized creative outlet not only refills the well, but prevents burnout (or allows a creator to recover from it).

 

What happens to many of us - and I'm speaking of authors, but I imagine it happens with all creatives - is that we begin with writing as the hobby. It's the passion, the special something that we do because we LOVE it. Eventually, with persistence, hard work, and luck, we make that hobby into the profession. Then it's no longer the alternative to the day job and other responsibilities. It's become work.

 

Which, let me be clear, is good and natural. I'm a big believer in treating writing like my job. That's how I support myself and my family.

 

Still, to manage the creative self, I've found I need other outlets to refill the well and take the place of that other, special, and relaxing Thing. Keeping it non-monetized is the challenge. Especially since the pandemic began, I think we've all become adept at casting about for side-gigs. In fact, the gig-culture was going strong before that. It's tempting to take that successful hobby - I imagine Ted Kooser's friends admiring a painting, offering money for it, and him turning it down with a slight smile and shake of his head - and begin to dream of taking that art viral and making an avalanche of comforting money from it. 

 

I sometimes think there's a certain magic in refusing that temptation, in enjoying creativity for its own sake. 

 

And magic is precious.

The Hobby of Mess Making

 The Hobby: What Do I Make When Not Making Words?

Messes. Lots of messes. Usually in a quest to reorganize All The Things. I will go through short-lived frenzies of purging the basura accumulated with crafting or upcycling intentions but zero executions (both my own intentions and the intentions of previous generations). Now and again, I'll repaint rooms and refresh furnishings as part of clearing the clutter. 

Why would I make messes (then clean them up)? Satisfaction. Visual satisfaction. Writing is such a long process with a small 5"x8" end result that sometimes the excitement of releasing the book isn't as WHEEEE as the soul needs it to be. Lightening my physical presence in the world is calming. I'm past the life stage of accumulation and am ruefully paying consequences in the minimizing phase. I must say, I was excellent at accumulating stuff. Damnit. So, I've got plenty of soul-lifting opportunities whenever I'm not writing. 

Ignores sounds of eldritch spawning coming from the basement.

Creative Outlets

 

Happy Sunday, all! Today's topic on the SFF Seven is The Hobby: What do you make when you aren't making words?

In all honesty, there hasn't been much time lately for my creativity to flourish anywhere but with writing. However, I have quite a few creative outlets, and I dip into them when I'm not writing. It's just that writing is all I've done this year *insert OMG face.* 

I've never met a house I couldn't decorate, or a used piece of furniture or artwork I couldn't refinish or repurpose. I've made a lot of things by hand, everything from clothes to fancy shower curtains to bedspreads to lampshades to headboards. I'm not too shabby with a power tool either. 

This winter, I'm determined to take a break and do some home decorating. I have a couple pieces of furniture I want to paint and try some gold leafing on, and I need to finish my office design and redecorate a hall bath. Maybe I'll share pictures here when I'm done.

I also love to cook, and I toy with photography. Cooking sprees seem to be most prominent when I have writer's block. Photography is more of a relaxing hobby than anything. I get very focused on the framing within the lens, and then I love the editing process too. Some of my photographs are hanging in my home, and I've taken headshots, engagement pictures, and graduation pics for several people. It's a lot of fun, and something I wish I had more time to work on.

How about you? What are some of your hobbies?

What hill will you die on, even if your copy editor insists otherwise?

 

If I have one weakness as a reader, and as a writer, it is the mystery, the rollercoaster, the silent scourge of the. . .

 

Ellipsis.

 

Editors would much rather we not overuse this literary device, and I believe I know why.

 

Consider what, exactly, is an ellipsis in formal understanding. Dictionary.com states, “the omission from speech or writing of a word or words that are superfluous or able to be understood from contextual clues.”

I disagree, in particular, with the latter half of the statement: “. . . superfluous or able to be understood from contextual clues.”

 

To me those three dots in between one word and another represent . . . universes. An abyss of unspoken thought, reserved emotion, joyous and painful history both known and unknown between two characters embarking in the muddy waters of a conversation in which such pauses are necessary, demanded even. Because there are simply some things that cannot, and should not, be put into beggared words. Some emotions, history and experiences eclipse the containment of spoken speech.

 

Context is quite often in the eye of the beholder—how do a mortal girl and an immortal demi-god share context? How does Hades elucidate his ancient pain to a young Persephone? He cannot . . . not in its entirety. Understanding the whole of his life and circumstances that led to a particular point are beyond her, except in the abstract. That abstract is the ellipsis. In the forced pause where she must set aside the immediacy of her thoughts and biases and . . . what? Consider what she does not know.

 

All of the above renders the term “superfluous,” well . . . superfluous. Nothing which is too big for words is unnecessary. Rather, it is the antithesis of unnecessary.

 

As a reader and writer of fantasy romance, I find ellipsis especially necessary when a character has neither the time nor the words to express a complicated concept, or they refuse to expose themselves to the weakness of doing so. As a writer, I utilize that trio of dots to hone the reader’s focus on the possibility that there is subtext and context on which I would like them to pause, close the book for a moment, and unravel.

 

What is your dragon Lord or your God of the Underworld avoiding? Why? What is their hidden agenda? The story would be ruined, robbed of wonder, if we put every thought and feeling into ink and pixels. If we leave nothing for imagination, we deprive the reader and characters of the journey of discovery.

 

As a reader, I particularly love these opportunities to close my eyes and delve into the inner workings of what a brooding Fae lord, or an immortal wizard, or a fractured heroine may be thinking or feeling. What they are admitting, and why. They point to the consequences should they put into inadequate words the whole of their hopes, their intentions, their scheming.

 

No . . . by denying the reader an ellipsis, we deprive them of the joy of deep reading. The joy of interpretation, of discovery. The joy of embarking on a journey in tandem with the author and characters in which the story the reader is imbibing comes alive in their head with nuance particular to them. Because, after all, no reader reads the same story like another. And in those three tiny universes are where stories morph into . . . epics.

 

That being said, I do have a rule. In drafting, I allow myself as many ellipses as I want. When I reread my story, I begin a new conversation with my characters. Is this ellipsis a time to hold back, or is it a time for plain speech? Will closing the gap of understanding sacrifice the communication (because some things need to be left unsaid) or is there greater benefit in showing one's verbal cards? Should you continue to veil your pain, or unleash it?

 

However, I err on the side of letting ellipses rein. Of allowing imagination to hold sway rather than boxing stories into claustrophobic cubes of singular understanding.

Emma Alysin is a 40 mumble mumble bi-racial American Muslim mom of five who writes SFR, PNR & Fantasy Romance.
Her dragons, fae, and bears will most interest readers who like their alphas strong, protective, and smokin’ hot; their heroines feisty, brainy, too grown to give a *uck, and over the age of 30.
Her stories feature men and women of diverse backgrounds.

My Hill to Die On

Were I to choose a hill to die upon, it would be something like this neolithic stone circle atop a green, grassy hill with a likely burial mound in the middle of it. 

However. If we're talking about copy edits. Well. I'm kind of a pain in the grass. 

Like Jeffe, I've had run ins with copy editors who've never met a metaphor they've liked. Most of the time, I can look at the suggested changes, raise my eye brows, snort and say, "You can fuck right off" to my inanimate computer screen at the same time I'm typing "Stet." 99.5% of the time, my copy editors save my backside - one caught an eye color change on a hero that both my editor and I had missed. So copy editors get big benefits of lots of doubts from me. And even if I disagree with copy edit, for most things, it just doesn't matter and I accept the change.

Where it does matter is when a copy editor harps on and on and on (usually about a metaphor, occasionally a genre trope) in a way that would change the voice of the story, the character, or me, then I get cranky. Really, really cranky. Cranky to the point that I once went to my editor and asked if I could never have that copy editor again. I felt like I was being childish or, worse, a diva. But she just laughed and said, "Absolutely. You aren't the first author to mention it. It won't be a problem going forward." That was a relief.

The only problem I have - and this is 100% a me thing - I'm stuck on subbing each other (3+ people) for one another (2 people). I just don't like the way one another sounds. I do like the way each other sounds. It's something I should probably get over. Probably. Mainly because I'm not sure it's really worth being on a hill for. Much less dying on that hill for.
 

Fighting the Good Fight for the Metaphor of It All

The Covenant is complete! Book 3 in A Covenant of Thorns, ROGUE'S PARADISE, is now out in the wild, walking its wild ways. Thanks to all for supporting this re-release of my very first dark fantasy romance trilogy. It's beyond wonderful to see these books finding a new audience after all these years. 

This week at the SFF Seven, we're talking about copyeditors and the arguments we have with them. We all have grammatical hills we'll die on - wisely or not - and we want to know what yours is! On what point will you refuse to give way, regardless of how the copyeditor might argue?

(I feel I should note at this point that the author/editor/copyeditor relationship is a symbiotic one. Even in traditional publishing - all rumor to the contrary of authors being "forced" to do x, y, z - seldom will anyone INSIST on a change. Almost always the author has final say, because it is their book, and they also bear final responsibility. It's in the contract. If an author commits slander or other blunders, the ultimate responsibility - financial, legal, and moral - rests with them.)

I, like most authors, have a love/hate relationship with copyeditors. On the one hand, they catch potentially horrifying errors. In fact, in the book above, the copyeditor corrected a character "peeing at her face" to "peering at her face" - something my editor and I had both missed and were hysterically relieved to have fixed.

We love them. We need them. As with all love/hate relationships, copyeditors drive us crazy. 

I won't fight about commas, as a rule. I really even don't care about the Oxford comma. I know people like to make jokes showing how important that Oxford comma is, but in most cases the context makes it clear. I don't get why copyeditors hate m-dashes so much, but I'll concede in many cases. I personally find semi-colons archaic and not all that useful, but whatever. 

You know what gets me, what I'll really fight for? 

Metaphorical language.

That's what kills me (yes, LITERALLY KILLS ME) about many copyeditors is that they can be so freaking literal. Some examples.

"His eyes can't really crawl over her. Imagine eyeballs rolling over her. Gross."

"Can a cloud really look sad?"

"I don't think this is a word."

I could go on. The thing is, as writers, we're often expanding the use of language. Dictionary definitions often include citations of first usage of a "new" word or expression. That's because language is our medium and we are the ones shaping it. Copyeditors are on the side of enforcing the status quo. So a writer ends up walking the line between bending to the regulatory insistence of correctness as the rules currently stand and being the iconoclast who breaks those rules to open up new worlds.

Guess which side I'm on?

Yeah, copyeditors hate me right back. 

But, I believe this push-pull is a part of our jobs, on both sides. We all want to produce the best book possible. We all love language and what it can do. I will say, however, to all the writers out there: believe in yourself and defend your words, because you are the fount of change.