2011 NaNoWriMo

My third successful year in NaNoWriMo

(National Novel Writing Month)

The lessons learned that I wrote about last year  all still apply.

NaNoWrimo2010

 

There is a great sense of accomplishement having another first draft of a novel to ‘someday’ edit for public consumption.

There were many days where I wanted to sit down and get back to the novel to see what happens next. I think for writers, sometime the role isn’t that much different than being a reader. We crave the story and connect with the characters and are often surprised at what happens next.

A writer writes!….and that’s what I did.

Rowan’s Branch, a novel by Kevin S. Moul

 

 

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Casting for Characters and Drawing Inspiration – Part 2

One of the pleasures of writing in public places is harvesting the fertile surroundings for new characters. When I am feeling sluggish or experiencing what some may define as writer’s block, I pull out my cheap notebook and begin a classic Natalie Goldberg writing prompt.  ‘Before me I see’, ten minutes, go!

On a recent Friday, claustrophobic from being home all day,  I wanted to tackle a third draft of a writing project and sought inspiration with a change of scenery. One of the busier Starbucks in my neighborhood seemed a suitable tonic with the added benefit of being surrounded by dining options, knowing that would be a later internal monologue.

Pen in hand, notebook open and without overthinking (very important, see earlier posts on writing practice), I looked up from my notebook and spotted a woman settling into a chair.  In her late 40’s and at least for the moment she was alone. Individuals, couples, or small groups, all offer a completely different dynamic.

She sat against the south facing window. The low angled late  afternoon sun reflected off the lightly colored walkways and the pale stone  facing of the neighboring building provided a flattering diffused backlight. Through  her crisp white linen blouse, a muslin outline of a slender athletic frame.

Her legs wound up beneath her on the small bistro chair, balancing in a lotus or Bodhisattva posture. She looked straight ahead, her shoulders pushed back as she slowly drew in and exhaled three deep calming breathes. I couldn’t actually hear it, but my mind added the low vibrating exhale that preceded a content smile.

I allowed the scene around her to dissolve, placing her as a halcyon on a rocky crag overlooking a restless ocean. Her coffee scented breath mixing with the salt tinged air. Then the visual shifted to a zafu in a meditation hall deep in a forest, my mind anticipating the sonorous single strike of the gong to end the practice.

Timed with a deeper inhale she gracefully extended her left arm up and in a variation of the Trikonasana yoga pose, she stretched to the right. She continued the vinyasa, the intentional combination of breath and movement on the opposite side and finished with a seated sun salutation.

To my aesthetic, the only thing out of place with her serene presence was that she proceeded to read a retail catalogue or flyer. Such a crass commercial document was out of place in the imaginary world that she now inhabited. Her long slender fingers plucked at the corners to change the pages. She split her attention between the document and looking straight forward absorbed into the emptiness in front of her. At no point did she seem aware of those around her or more importantly, of my writer’s voyeuristic gaze.

She was both somewhere else and very much in contact with the shiny newsprint that slipped dryly between her fingers. Her posture grounded her in the chair, even the geometric floor tiles seemed to support her in this moment.

As the light shifted, so did my impression of her age. At  times much younger and less burdened by experience.

I thought about taking a photograph, wanting the smile and composure to be the essence of a future character in one of my stories. That would be cheating; a writer uses words and I promised that I would devote a journal entry to this discovery.

Confident, absorbed in her happiness, she cast a net and connected with everyone around her. Just looking at her I shifted to sit up straight in my chair, wanting to be more poised and purposeful. She posited without speaking the question, where would I rather be in this moment?

While I have only limited training in Yoga, I don’t believe there are ‘asanas’ (poses) that involve the hair. At least, not until now.  Unfettered, her light brown hair, only a pantone decimal from blonde, hung just below the shoulder, pulled back as to not cover her face. It was thick and moved as would a frayed silk rope, as a whole. She drew it together, grasping the luxuriant thickness, pulling it to both the right and left in a yogic recognition of balance. Then with little more than a flick of her wrist, it was miraculously held aloft by the unseen elastic previously hidden in her palm.

I wanted to be in her space. Returning to my writing project,  I became absorbed in a scene where my character makes fun of what other’s  believed.

A later glance revealed that a computer now occupied her  table top. Her eyes cast downward, her smile replaced with a neutral  countenance. The memory of her earlier affection influenced my perception and I  assigned continued tranquility to the scene.

My writing consumed me for a period of time then with a deep  breath of my own; I resurfaced from the world of my writing project content  with having completed a difficult sequence of dialogue. Her legs were now unfurled  and out from underneath her. With feet resting on the ground, her left leg flexed  slightly, bouncing on the tension of the tendon.

The scene was very different. The wash of her earlier  serenity was gone, sucked up by the computer and the intruding glow of the  words that now consumed her attention. Her lips were pursed, her shoulders  slumped forward, the latitude of her narrowed eyes parallel to grim pursed  lips. She pecked at the keyboard her chest rising in falling, searching for the
once calming breath.

I felt sadness for  her as I packed up my computer. Happy with how my scene had been re-written, I  was flush with reaching my goal, and grateful for the fuel she had provided. I
wouldn’t have thought that she could have been broken.

Now hungry, my plan was to take advantage of the early hour,  be thrifty by seeking out a happy hour special – a margarita and half priced selection of deep fried heart clogging appetizers from some local restaurant.

As I walked I wasn’t ready to give up her gift of serenity  and I found myself redirected toward ‘True Food’, a favorite restaurant with a menu that tips toward healthy eating. Their food  selections are nutritious, flavorful and worth lingering over. Mushrooms, one
of my favorites, abound.

And to make sure that nothing intruded on my mood, I also began with three calming breathes and commitment not to check email or open my computer lest it pull me from this serenity. Only pen and paper were allowed. Very  simply, my goal was to start a journal entry that captured this inspiring woman, and not just for one of my stories, but for me on this writing day.

 

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Wasted Weekend…NOT

“I’m wasting a beautiful sunny weekend when I could be out hiking.”
As writers we study dialogue. What did the person, a writing student, really mean by this comment?
Recently, I sat around a table with ten strangers. On this first day, all I knew of them was their writing. We were all of different genres, skill levels, and in the moment I heard that observation, we obviously came to the event with different levels of commitment. A wasted weekend?
For three days we had come together under the umbrella of the Virginia G. Piper Center at ASU, the 2011 Desert Nights Rising Stars Writing Conference. Delegates had the option to sign up for small group sessions, ten people, each sharing for critique a 20 page manuscript. These “Master” classes were each facilitated by a published author. In my case, the Scottish Writer Jem Poster. He has two novels available in the US market, Courting Shadows, and Rifling Paradise.
The master classes were in addition to an expansive agenda of readings, panel discussions and classes. Certainly not a waste of time but a joyous inoculation, being surrounded by people that for three days would be happy to discuss nothing but writing.
~~~
Here are a few thoughts shared by a talented faculty. Not exacts quote but a selection from my hastily scribbled notes. [Items in square brackets are my own musings but not expressly stated]
Alberto Rios
It is a fertile and fecund world…[Does your writing see everything?]
Magic is a new way of seeing something, a breaking from habit. [This reminded me of a quote, something to the effect, 'that the most advanced technology in a culture can sometimes appear as magic?]
T.M. McNally
Who would read your fiction if they didn’t have to?
Why do you stop reading?….When something is not real.
If it crosses your mind [as the author] – it probably should cross your characters mind.
Don’t withhold information as a device for creating suspense.
If you need to know it, the reader should know it.
How do you lie? If you want to convince someone of something, use details.
Find a detail that everybody sees but no one notices.
Speak with authority
The only thing that matters is the story.
Story is the ocean, the scene is the wave, and dialogue is the foam
1 word of dialogue = 50 words of prose
1 ‘fuck’ is good for 30 pages
Detail is meaningful in context – think objective correlative.
Antonya Nelson
Revision does not mean removing.
Each revision will still be the first time for the reader.
Create ‘Transitional Draft’ [attributed to Robert Boswell, Antonya Nelson's Husband and New York Times Bestselling Author]
Only tackle one major change in each revision but do it completely…if it doesn’t work you can go back to the previoous draft and either try again or disregard the change.
[The scattered approach puts 'being thorough' at risk. In particulalr if the changes also interact with each other. ]
Tara Ison
My eye loves every word; my ear is more discerning. Read it aloud.
Read each sentence out of context, start at the end and read in reverse order.
What is the best/worst thing that can happen to your character? Then consider that the character may not be aware of this but the author and perhaps the reader knows.
A need will drive behaviour!
What is the ticking clock? What have you imposed upon the character?
These are but a few ideas and inspiration captured over what was an exceptional weekend.  Hardly a wasted moment. Then, for writers, no moment should, or could ever be wasted.
~~~
The Virginia Piper Centre for Creative Writing at ASU organizes the conference (almost annually). More information can be found at
All photos by Kevin S. Moul, © 2011
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