Happy New Year!

Happy New Year TKZers!

Welcome to 2018 and whatever new (or used) resolutions you may have made. For me, after a difficult year health wise, I’m ready to face the new year with both resilience and hope, at least where my writing is concerned. I’m not so much into resolutions for 2018 as I am into consolidating what I learned about myself and my writing process last year.

Despite everything, I feel pretty good about what I achieved – especially the fact that my agent now has three new projects to play with/submit:)  As you know from many of my blog posts, I’ve expanded into YA and MG as well as adult historical fiction/mysteries, and while this has meant a lot of time and commitment, learning and angst, I’ve learned a lot about my writing process as well as my resolve.

In 2018, I plan to continue to apply what I’ve learned and try to be a little more forgiving as far as my writing process is concerned (no more NaNoWriMo regrets for me!). Although I have delved a little bit into social media, I realise that my presence is a little erratic and unfocused so another goal of mine is to reconsider how I approach online and social media – but not to the detriment of my writing (which continues to remain the focus of course!). I also feel that, in the spirit of expanding my writing horizons, I should begin to embrace what I call the ‘difficult’ projects…those ideas/proposals I have avoided so far out of fear that they are too ‘difficult’ to successfully pull off. You know the ones – they continue to buzz about in your brain, demanding to be told, but that little voice inside (the one that hates failure) keeps telling you to wait…keeps telling you your not good enough to write it… Well, I think it’s time to embrace the difficult – be bold  as well as brave – and tackle at least one of these projects this year.

So TKZers what do you plan on focusing on in 2018. What did you learn in 2017 that you can consolidate and use in the coming year as far as your writing is concerned?

 

5+

What Genre Intimidates You?

Some writers have told me they find the prospect of writing historical fiction intimidating and this got me thinking about what, if any, genre, I would be reluctant to tackle. As a historical fiction writer, I understand that writing a novel set in a different time period to our own can be a formidable prospect. However, for me, the historical context for a novel helps provide a solid footing as well as a necessary framework for my story to develop. In many ways, writing about history is far less daunting than the present:)

Almost all of my story ideas spring initially from a historical incident or person (or, as with my latest WIPs, a ‘what if’ alternative history scenario). There’s literally no aspect of historical research that I don’t enjoy – from delving into primary sources to get a sense of life during the period, to reading secondary sources about the events of the period, to looking up (endless) historical details relating to things like fashion, architecture, furniture, food and even language (I use an online historical thesaurus which is so much fun!). I do recognize, however, that anyone contemplating writing historical fiction has to add a much greater research burden to their process. For me, this research is a critical part of finding the voice for any novel – with the specifics of time and place adding an additional dimension to everything I write. I totally understand, however, that tackling a historical novel is not for the faint of heart – but then that could be said for writing any novel! For me, the prospect of writing a contemporary novel is far more daunting than any historical novel (even one set in a period I know nothing about!). The most ‘contemporary’ period I’ve contemplated writing about is the 1980s:)

So what genres do I find more intimidating than writing a contemporary novel? Well, I feel pretty comfortable about facing the challenge of writing a romance, sci-fi or fantasy novel…but horror or erotica? Hmmm…not so much. I doubt that I’d be able to pull off a horror novel or even a really disturbing thriller…unless it was historical. Then, for some reason, I think I’d be able to go dark (though how dark my dark would be is debatable!). As for erotica, well anytime I’ve tried to write a graphic sex scene I’ve made myself laugh…so I doubt I’ll ever make a successful erotica novelist!

In general, I feel pretty open to writing whatever I feel passionate about – even if the prospect intimidates me – but I think deep down I recognize that there’s something about history – something about grounding myself in a different time and place that informs my creative process. What about you, TKZers? Are there any genres that intimidate you?

6+

Failing the NaNoWriMo Test

So this November I tried for the second time to complete NanNoWriMo (for those unfamiliar with this, it represents an opportunity/challenge to write a 50,000 word novel during the month of November). Although I never publicly launched a new novel or attended any of the social writing events in either attempt, I did start both challenges with the intention of trying to see if I could knock out a 50,000 word draft in a month. Turns out, I can’t…

This post isn’t really about my failed attempts but rather what I learned about my own writing process as a result. While I think NaNoWriMo is a great exercise for many writers it (obviously) didn’t turn out to be the best for me. In both of my attempts I was in the early stages of a new project and I thought it might be a way to overcome the dreaded internal critic and kickstart my project into high gear. Turns out my creative process just doesn’t work that way…Here is what I learned:

  1. I write quickly anyway. With determination I always finish my projects and the deadlines I set with my agent provides motivation (and fear) enough for me to push through to the end of the first, second, third and fourth (or more) drafts. That being said…
  2. The first 50-100 pages for me are critical. I have to get these right or I cannot (and I mean cannot!) move forward. I often spend the first month or so on these pages alone – making sure they are written, edited, rewritten and re-edited to my satisfaction. NaNoWriMo helped me realize and understand this – the 100 page mark was the exact point in both drafts where my brain froze at the thought of continuing on without fixing what I knew was wrong.
  3. This second failed NaNoWriMo test enabled me to come to grips with the hows and why’s of point # 2. It’s all about the voice. If I don’t get the voice and characterization correct, everything I write from that point forward feels inauthentic and forced. In this last attempt, I found myself going through the motions of writing scenes to satisfy the NaNoWriMo word requirements until eventually my creative process shriveled up and died…until I went back and started working through the voice in the first 100 pages…
  4. Word targets freak me out. I don’t do well focusing on a target number of words to write per day or week.  As a plotter I do much better with setting goals in terms of chapters and scenes than focusing on the number of words. I will often lay out an outline and move along that trajectory until I come to a point where I have to go back, reread everything and make course corrections as necessary. NaNoWriMo taught me to make peace with this…and also to realize that…
  5. Although my internal critic can be a pain in the bum it’s also what helps me craft the voice that I need to move forward with my novel. It was the same with last year’s project (which, by the way, resulted in a novel that is currently out on submission, so my NaNoWriMo failure isn’t all that bad!).
  6. Finally, I realized that I need to trust, accept, and love my own particular creative process.

So, although I think NaNoWriMo is great for kickstarting other people’s writing – I need to accept it isn’t for me. Undertaking the challenge, however, has helped me realize that I have to honor my own creative process and since mine (so far at least!) usually results in a completed novel, then it’s a process that ultimately works:)

So TKZers, are any of you doing the NaNoWriMo challenge this November? How does it work for you and your creative process?

10+

First Page Critique: Historical Thriller

Today we have a historical legal thriller to examine as part of our regular first page critiques. Sometimes historical fiction can be intimidating – especially when (as is the case in this first page) we are unfamiliar with the period or location in question. My goal as a historical fiction writer is to provide a story which helps overcome that initial uncertainty through: 1) a well established sense of place and time; 2) an authentic, period appropriate voice; and 3) a sensory evocation of the period that helps immerse a reader in that place and time. In addition to these three goals, I also hope to provide a rich layer of drama and intrigue, characterization and plot (…pretty much what we hope for in most novels!). Luckily, I think today’s first page manages to establish a pretty good foundation to achieve all these goals. Kudos to our brave submitter and read on. My specific comments follow.

Title: In the Matter of Lucy

Genre: Historical Legal Thriller (1840s)

Chapter One

Narrative of Orlando B. Ficklin, Esq.

A law office is a dull, dry place.

Leastways, that’s what “Mr. H” told me on my first day as an apprentice.

God, but I could use some dull and dry right now. You wouldn’t believe what the people of a backwoods Illinois county can get up to in the way of shenanigans in the year of our Lord, one thousand eight hundred and forty-seven. Lying, cheating, stealing, screwing, welching, divorcing – there seems no end to the vices of this hamlet. And the half of the them – and not always the better half – find their way to me.

This week has been a busy one for laying bare offenses, large and small. The circuit court is in town for the spring session. It’s a regular curia regis: Judge Hopkins and an itinerant band of attorneys traveling through the “realm,” arguing and dispensing justice, when they aren’t eating, smoking, drinking, whoring, and swearing. Our courthouse, such as it is, is a backroom of Deskin’s Tavern. It’s no unusual occurrence to find judge, lawyers, litigants, witnesses, and jurors at the same dining table.

Yesterday, I defended the Meisenhalter brothers.  David Adkins had sued them for slander. Once, for Levi calling Adkins a “damned pig thief,” and again for Robert calling him a “damned infamous pig thief.” Fortunately, the truth was our best defense: Adkins had, in fact, stolen five hogs a few years back in another county. The jury found for my clients and I got my own hog – rightfully earned – as compensation.

Today, I’m watching – and learning – from the master: Mr. Lincoln.  He’s representing Eliza Cabot in a slander case, one more titillating than my own with the Meisenhalter boys. Eliza is suing Frances Regnier for saying that Elijah Taylor was “after skin” and had got it with Eliza, that Taylor “rogered” Eliza, and that Elijah “has got some skin there as much as he wanted.”

Lincoln has just asked Taylor if he knows the difference between adultery and fornication. After some thought, Taylor answered: “Well, I’ve tried both…there’s no difference.”

The galley roars with laughter.

Despite the performance, I’m distracted.  My mind wanders to this morning’s “mail”: a rock, thrown through my office window, with the following note:

“Take on that damned ni – – er’s case, and I’ll see you in Hell.”

Specific Comments

My comments focus on the goals I identified above:

1) A well established sense of place and time

What I enjoyed about this first page is that I felt we immediately had a well established time (1847) and place (some small backwoods town in Illinois) without the need for any unnecessary data-dumps or overly long descriptions. I could easily envisage the setting without being given much in the way of description as the key elements were all there (the back room of Deskin’s Tavern for example and the two law cases that were highlighted with humorous specificity). This first page demonstrates that historical novels don’t need a huge amount of period description at the start – just enough to evoke the time and place and allow the reader to step into the scene quickly and easily.

2) An authentic, period appropriate voice

Overall I think the voice in this first page is strong and authentic. I had some minor quibbles with word choices (like ‘leastways’) but those were just personal preferences. The first person narrative is strong and humorous and the voice of Orlando Ficklin Esq. seems to be one that has enough interest to sustain the story. Given it is his narrative, I did wonder whether we needed the quotation marks around the words realm and mail – they seem to distract as other quotation marks are around other character’s actual speech/dialogue. I also wondered why the ‘n-word’ in the final line of the page was censored, as I assume the threatening note on the rock thrown through the window would not have been. I was also briefly taken out of the narrative by the term ‘rogering’ as I associate that more with British slang – I have no idea if this was used in the USA in the 1840s – but would just advise the author to double check all the words used to make sure they would have been in common usage at that time/place.

3) A sensory evocation of the period

Most often we associate ‘sensory evocation’ with descriptions involving sights, sounds and smells to evoke a historical scene. In this first page we don’t really get any description of what people are wearing or sensory based period details but I think we get enough in terms of scene setting with the snippets of conversations provided and the first person narrator’s view on the circuit court proceedings. I expect as the novel progresses more period details will be provided that will fill out the historical scene for the reader.

So far, at least for me, we have a solid basis for a story that I would be more than happy to continue reading. The last line also provides a great set up for the drama and intrigue that is to come. What do you think, TKZers?

7+

First Page Critique

I confess to being a little trepidatious about tackling today’s first page critique entitled ‘We the People are Good to Eat’, not just because of the subject matter (you’ll see…) but also because I’m not really sure of the author’s intention (dystopian YA? parody?). It’s always tricky when reviewing only one page, but this particular submission had me scratching my head even more than usual. Read on – my general and specific comments follow.

We the People are Good to Eat

At 7:37 AM, on the 1378th Level of the City Building of Manhattan, thousands of people moved along the West 55th Street Corridor, going east from the 9th Avenue to the 8th Avenue corridor. Many teenage students walked among them, heading toward their local Public High School; HS L-1378-55, which stood between 8th and 7th.

As the crowd moved along, they went past an enormous advertising billboard, displaying a photographed line of full figured Warrior Women dressed in bikinis, while armed with swords and spears. Shrunken human heads were tied on their belts. Superimposed above them, across the top of the photo, was the slogan, “Paradise Meats. Healthy Tasty Treats”

17 year old Karen Bennet moved with the crowd. She was dressed in a lightweight, dark green jacket, with the words “HS L-1378-55”, printed in yellow on the back. She also wore a light blue skirt, hanging to her knees. Like all the other students in the crowd, the hungry, blonde Karen carried her edu-computer, and like many of them, she also had a pair of shrunken human heads tied on her belt.

She was about halfway down the block, when her steady boyfriend David Krendell came up beside her.  He was irritated.

“Hey Karen!”

Like most of the people in the City Building of Manhattan, he was a little thin and his energy level was low. She was also thin and not very energetic. A daily ration of sausages and meat patties was allocated for each citizen, but the portions were small.

Karen was annoyed. “Hi Dave.”

“I hear” he accused “you’re planning to try out for cheerleader?”

She snapped at him. “Since I already fought on the Warrior Girls Squad last year, I’m now qualified to join the cheerleaders. All cheerleaders and their families receive triple rations for the entire season, just like the warrior girls. Why not?”

“You might be the cheerleader who gets hanged, after we lose a game.”

“The extra rations will improve the health of me and my whole family for the entire season. Isn’t that worth the risk?”

“I wish you didn’t have to take that risk at all.”

She sighed, “And I wish you weren’t such a wimp, Dave.”

“I’m not being a wimp.” He told her, “The extra rations are intended to make the cheerleaders fill out, so they’ll look sexy, instead of unhealthy.”

She laughed, “You’ve got a complaint about that?”

“The girls on the cheerleading squad are expected to do it with every guy on the Warrior Team. I’m the Team’s equipment handler, so I know everything that goes on. I want you to be my girlfriend alone. Not the entire Team’s.”

“I know what’ll be expected of me, and I don’t see the point of me being a well fed, sexy cheerleader, if I’m not a team girlfriend. They’re the girls who have all the fun.”

“What about me?”

She groaned. “You’re too much of a wimp, and not all that much fun.”

Karen stepped away from Dave.

General Comments

As I wrote in my introduction, I’m not entirely sure what the author’s intention is here, but assuming it is a YA dystopian novel then I have a number of specific issues to raise, but my main overall comment would go back to my blog post a couple of weeks ago – does the author really think the idea of teenagers eating human flesh is a saleable premise? To be honest I can’t imagine many editors favorably reacting to that. Even if the author intended the novel to be a parody of a YA dystopian novel (which is not apparent in this first page) then this would have to be made obvious from the start and, even then, I’m not sure the premise would really sustain a publishable novel.

Specific Issues

Information Dump

Moving onto the specific issues in this first page… I think the major concern I have is that this first page is more of an information dump that a compelling start to a novel. While I was intrigued by the initial setting (the 1378th Level of the City Building of Manhattan), there were a lot of details that seem extraneous (the address and repetition of the HS number) and the dialogue between Karen and Dave seems designed to provide the reader with information, rather than a natural conversation between two teenagers (would Dave really have to explain to Karen why cheerleaders get extra rations or that a cheerleader gets hanged after losing game? She obviously knows this – so the information is really only for the readers’ benefit). In terms of story craft, however, this first page cannot be merely an information dump masquerading as conversation. We need action and tension to become engaged in the story – right now, this first page seems staged and unrealistic.

World Building

This stifled conversation drains the page of any tension or drama a reader may have felt after the mention of the Warrior Women billboard (the first mention of the shrunken heads) and so far, the information the reader is getting seems more off-putting than compelling. I’m assuming society has resorted to cannibalism because meat has become scarce but how and why remains unclear (and to be honest, as a reader I’m not sure I even want to know…). When re-reading this piece I wasn’t even sure how cannibalism is involved (although, given the title I’m assuming it is). Do Warrior Women just show off their skills by having shrunken heads tied to their waist bands? Is everyone else hungry because of meager meat rations or is human meat their only option? When creating a dystopian world, it’s fine to leave questions unresolved on the first page but the reader must feel confident that the author has created a viable and intriguing world – which I’m not convinced has been achieved as yet.

Dialogue

As I mentioned, the dialogue on this first page seems to be nothing more than an informational dump and I certainly don’t get any sense of attraction or friendship between Karen and Dave to indicate there would be any possibility of them being boyfriend and girlfriend. In fact, Karen seems pretty unlikable so far, which isn’t a great start. Also the conversation about cheerleaders ‘doing it’ with the whole team seems a bit off-kilter (although the mention that Dave is the team’s ‘equipment handler’ was possibly inadvertently hilarious). Neither Karen nor Dave come across as real (dare I say it) flesh and blood people yet – which leads me to my final specific comment…

Characterization

When dealing with a rather icky subject matter (cannibalism) an author is going to have to rely on some amazing characterization to get over that initial hurdle. The reason why the Hunger Games was so popular was, in major part, because the character of Katniss Everdeen was so compelling. So, while that series dealt with teenagers fighting to the death, the empathy of Katniss really added a humane touch to what was otherwise a pretty horrific premise for a book series.

Perhaps the author of this first page was inspired by that series and wanted to push the envelope even further – but as my comments demonstrate – in order to pull that off you need to have a solid and believable world (which hasn’t been developed in this first page yet), empathetic and compelling characters, and action that compels a reader to turn the page and keep reading. Sadly, because of the issues I’ve raised, I would not want to turn the page with this story – but I also think the author needs to take a step back and consider the ‘saleable’ premise question before addressing any of the specific comments I’ve raised.

TKZers, what do you think?

5+

A Saleable Premise

Over the summer, while completing revisions on two WIPs (one YA, one MG) I took a quick step back to read a book focusing on story craft entitled ‘The Magic Words, Writing Great Books for Children and Young Adults’ by Cheryl B. Klein (a book, by the way, that I highly recommend). Most of the advice is just as relevant to adult and genre fiction and I thought I’d share some of her initial advice/comments around constructing a ‘saleable premise’ for your book.

A ‘saleable premise’ is basically a one sentence description of your book that defines the protagonist as well as the overarching action and conflict. Although constructing a saleable premise seems on its face to be fairly easy or obvious, it can be more challenging than it first appears. Embedded within this description is not only the basis of the story but also a promise to the reader that the book will live up to the expectations the premise demands.

Cheryl Klein notes that a premise can be ‘unsaleable’ if it is too dense, quiet or nebulous, or if the concept has been overdone, or the publisher can’t envision it reaching an audience. Some of the ways a premise could appeal is if the book puts a new spin on already successful material, fills a hole in the market, or when it plays to a publishing house’s particular strengths. Of course, the best way to sell your work is to make it great and compelling – but this assumes you can get someone to read it, which is why that initial description can be so important. A strong story concept is critical. It’s how readers decide to purchase your book over another one. It’s also how agents and editors decide to take the time to read your story amongst the hundreds of manuscripts they receive each week.

A ‘saleable premise’ is what you would articulate in a query letter or elevator speech to an intended agent or editor. It is also a way of getting a publisher’s attention and yet, I wonder how many writers necessarily think of a ‘saleable premise’ when they begin a writing project (?). In her book, Cheryl Klein identifies three exercises which I thought were useful for any writer when thinking about their WIP in terms of ‘saleable premise’. I’ve added some of my own thoughts when it comes to these exercises as well.

  1. Write down the promises of the novel. I think detailing the emotions promised to a reader can help a writer focus on reader expectations – what emotions do you want the reader to experience while reading the novel? Does the concept for the story reflect that?
  2. Write the premise of the novel in one sentence. I find summarizing any WIP in one sentence a challenge, but it does help focus my mind on what exactly the core/essence of my WIP is really about. As Cheryl Klein points out, you might be able to create several premises for your novel, each highlighting a different aspect or storyline in the book, but the exercise of creating each of these premises can help a writer focus on the most compelling/freshest and (dare I say it) most ‘saleable’ aspect of the book.
  3. Identify three comparison titles for the book. This is an exercise most writers undertake when composing a query letter or pitch to an agent or editor, but it’s also a useful process when composing a ‘saleable premise’ as it helps describe and position your novel in the marketplace and also point out how to frame your concept/story in contrast to other comparable books.

So TKZers, do you consider or compose a ‘saleable premise’ for your books? If so, at what stage of the writing process do you do this – before the first draft or only when it is ready to be submitted or published? Or is a ‘saleable premise’ something you don’t even worry about?

 

 

4+

First Page Critique

Today’s first page critique is a great example of a piece where the ‘voice’ is critical. It’s a stream-of-consciousness, first page narration which we don’t usually see. My comments, follow. Enjoy!

Lilly’s Tree

There’s always been something gratifying in watching Mama suffer, even if it was only a little bug of a thing, like Lilly locking a fist around a swatch of hair hanging from the twisty knot Mama kept her hair tucked into. Lilly would pull on it like she was the force of gravity. Mama’s eyes would tear up, and she’d let out a screech that sounded like a cat with its tail flattened underfoot. That was when Lilly was in the hair-pulling stage of babyhood, right after the biting stage and right before the pinching stage commenced. It did no good trying to restrain those little Houdini arms when they came at you. Once her fingers latched on, no amount of force would make her let go. You had to distract her. Look, Lilly, there’s the firststar shining up there in the sky or Lilly, let’s you and me get some strawberry ice cream. Mama didn’t catch onto that trick like I did. Instead, she’d go off like a struck match. She was never quick to look for the funny in something. Mama I mean, not Lilly. Just about everything had a chance of making Lilly laugh, even Mama.

Before the accident, or even before Lilly for that matter, it felt like Mama was tall as a tower when it came to watching over me. It had some to do with her being protective, I’m sure, but mostly it was because she had a suspicious nature towards me, especially after Tommy Baxter and the hickey incident when I was in sixth grade and the pack of cigarettes she found in my sock drawer last year. I overheard her telling Pastor Mike I was a highly impressionable girl and religious instruction was essential for the development of my good moral character. She was sure he’d start me right in the world. Mama had Pastor Mike visit with us every Sunday after service. He’d talk about matters I didn’t much understand or even care about, but it was pleasant listening to him all the same. The pastor would throw a smile in my direction every so often, even when he was up there behind the podium at church, and his smile would stretch right up to those blue-as-the-sky eyes. I held the belief it was a smile he reserved exclusively for me, which made it impossible not to smile right back.

My comments

This seems at first glance (at least to me) to be non-genre specific – it could be a literary, coming-of-age novel, or it could be a first-person narrated mystery or thriller. At this stage, the scene is set really for either – with enough references to possible paths (Lilly’s accident, the pastor…) to keep this reader guessing as to the novel’s direction. I thought the characterization was strong – even in this first page we get a strong image of Lilly, Mama, and the narrator’s personality.

It is heavily reliant on the success of the first person narrator and this voice is what will carry a reader through the entire story so it has to be perfect. All in all I think this voice is successful so far and, as a reader, I was pulled along and wanted to read more. That being said, there were times when the word choice used seemed out of sync with the overall tone (use of the words ‘gratifying’ and ‘commenced’ and the ‘Houdini’ reference seemed a little more sophisticated than the voice appeared to be (at least to me). One of the key elements of any successful first person voice is the consistency and authenticity of the voice so this would be my only caution to the author – make sure you fully inhabit this narrator and make word choices accordingly. At this stage we don’t know enough about the narrator, beyond her being about middle school age, to be sure, but the sentence structure and voice on this first page seemed chatty, childlike, and unsophisticated (to me it also sounded very Southern – but as an Australian I’m not very good at picking American voices in literature). There was also an undercurrent of something a bit darker which I liked. In fact, if anything I’d like to see more darkness (particularly when it comes to the Pastor – not sure why, but I’m already suspicious of him!).

There wasn’t much in the way of action or dialogue on this first page but I think this worked in this stream-of-consciousness style beginning. For me there was enough narrative pull and tension to keep me reading but other readers may have wanted something more dramatic on the first page.

TKZers, what did you think?

Let us know what comments you have on this submission and how this first page can be improved.

3+

To Genre or Not?

As a follow up to my last blog post, I wanted to point out this week’s ‘By the Book’ in the NYT in which the mystery writer, Louise Penny is interviewed (you can read the link here). It serves as a lovely contrast to the interview given by Philippa Gregory which I blogged about a couple of weeks ago. Louise Penny provides, I believe, the poised and professional tone a writer should convey in these kind of interviews. She also gives an interesting response to the question ‘Which genres do you avoid?’ stating that, while the concept of ‘genre’ can be an effective marketing tool, she doesn’t buy into the notion of genres and considers ‘good storytelling is good storytelling’.

In general I agree with this sentiment, although I do think that certain genres (particularly romance and mystery) provide more than just a marketing tool – they offer a ready-made frame of reference and conventions which an author can use to structure his or her story. These ‘genres’ also provide an eager and accessible audience/fan base. There are few mystery or romance writers who wouldn’t acknowledge the value and support provided by  their genre based writing and fan communities, bookstores and conferences.

When I completed my first novel, I had no idea it would be marketed as a historical mystery so initially at least, it really didn’t conform to ‘rules’  of the mystery genre. It was my agent who first suggested making changes that would place it more squarely in the ‘mystery’ genre. Now I certainly didn’t have to take her advice, but most of the changes made sense and certainly helped make my protagonist more proactive and interesting (rather than being a sleuth in the first version of the novel, she was more swept along by events and the mystery as it unfolded). Making my novel more of a ‘mystery’ rather than simply historical fiction helped bring greater focus to both my characterization and plot and (I think) made the novel stronger as a result. Throughout it all, however, I wasn’t really hung up about the concept of ‘genre’ as I was writing.

After blogging about Philippa Gregory’s evident disdain for the concept of ‘genre’ fiction, I started thinking about whether writers nowadays even consider themselves ‘genre’ writers or whether the terminology/concept is outmoded. Good storytelling is, after all, good storytelling, now matter how a book may be classified on the shelves. So I thought I’d check in with you, fellow TKZers, to see what you thought about the concept of ‘genre’. Do you classify yourself as a ‘genre’ writer? Do you think about the conventions of your ‘genre’ while writing? When you pitch your work or publicize it do you even mention genre? Does ‘genre’ even matter these days?

4+

How not to do an Interview!

As a regular reader of the NYT Book Review I usually look forward to their weekly column ‘By the Book’ but this week’s contribution raised my eyebrows. Unfortunately, to me at least, it was a classic example of what not to do in an author interview. The author this week was Philippa Gregory (a link to column can be found here) and in some ways my post today is a follow up to the one I did about Hilary Mantel (who appeared to look down on female historical writers such as Gregory!). Gregory’s interview is full of such gems as:

  • “What I don’t read is historical fiction in the period I am writing. Firstly, the characters as described by anyone else drive me mad…”
  • “Why does anyone write sloppy genre novels? The typing alone is so exhausting – surely if you’re going to undertake 150,000 words, you might as well have something interesting to say?”
  • “Why do people write crime novels with blindingly obvious murderers?”
  • “Choosing to write a genre novel is like fencing the universe because your are afraid of space.”

The upshot of Gregory’s tone is that she is far above those mere mortals who write ‘genre’ novels. What bothers me the most about her town is the unprofessionalism that seems to be on display. When giving an interview, I think that all writers (and especially those who enjoy popular acclaim) should be mindful of the image they present. There is no need to denigrate ‘genre’ writers (or any other writers for that matter) and there is certainly no need to show disdain for their craft. By the Book is normally a column that displays the quirks of an author and their book tastes, it doesn’t usually involve book snobbery or an attitude that, quite frankly, turns me off reading an author’s work….but this one did.

My takeaway from this? A few pointers on how to do a professional interview…

  • Don’t use the interview to denigrate other writers, genres, or work. You can most certainly reveal your preferences, but negativity isn’t needed.
  • Don’t make statements such as ‘why does anyone write sloppy genre novels?’. No writer I’ve ever met has sat down to write 150,000 words of absolute crap. We all sit down to write the best book we can, and who is Gregory to judge the merits of that in such wide ranging terms? Genre novels are not by their very nature ‘sloppy’ – and many so-called literary books can be excruciating to read:)
  • Be aware of the tone you are conveying and avoid anything that smacks of pretentiousness or snobbery.
  • Publishing doesn’t need to be shark-infested waters where, to succeed, you have to lunge and bite other writers in order to succeed. Most writers I’ve met are nothing but supportive and humbled by the own success. This interview suggests that Gregory feels herself far superior to other mere mortals writing historical or genre fiction (was that really the image she wanted to convey?)

So TKZers what is your take on the interview? If you were invited by the NYT to be interviewed for ‘By the Book’, how would you want to appear?

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Dear Diary…

The last time I kept a personal diary I was twelve years old. Since then I’ve kept various travel journals documenting trips and stays overseas, but I’ve never revisited the idea of keeping a personal diary. I know many writing teachers advise aspiring writers to keep a journal but, to be honest, I’ve never been very good at documenting the day-to-day. Recently, due to some health issues, my doctor said that it might be a good idea to journal but my immediate thought was ‘I’d much rather kill people off in a novel’…so obviously, for me, fiction is far more cathartic than diary entries!

In yesterday’s NYT Book Review there was an article about the German novelist, Christa Wolf, who kept a diary over 50 years recording the events of only one day each year – September 27th (the link to the article is here). Apparently she kept this diary until her death in 2011, jotting down everything she did and everyone she saw (even everything she ate) on that day. From the article, it sounds like she was a careful diarist rather than a confiding one – giving plenty of detail on the day, and some deep commentary on the meaning of time, but less in the way of sharing her innermost thoughts or emotions.

I’ve often wondered about writers who keep detailed journals or diaries and how they tackle the delicate balance of writing for themselves as well as writing in a medium that might ultimately be made public (especially if they become famous). I certainly admire anyone who has the discipline to keep a diary/journal as well as their other writing. I  would find maintaining a personal diary challenging – in part, because, I’d always feel a constraining hand, as if someone was reading the entries over my shoulder. I think I would censor my entries or indulge in creating a ‘fictionalized’ account of my life rather than being open and honest (this may also be why I find it hard to write anything in public areas like coffee shops – I need to have the absence of ‘others’ in order to write).

So TKZers, do any of you write a personal diary or journal on a regular basis? If so, how do you maintain the momentum for this? Do you censor or hold yourself back in any way? Do you find it helps your fiction writing? If, like me, you don’t write a journal or diary, why not?

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