Sunday, May 13, 2018

Skills to focus on


Writing skills I need to work on:

Well, all of them.  LOL. But if I had to pick the top, say, four:
  • Dialogue.
  • Description. 
  • Non-avatar persepective; giving the reader a character's vivid, sense-filled experience.
  • Effective, efficient revision.

That's a big chunk, right there. So that's my plan for the next four months: take turns with those four skills, every week.

Monday, May 7, 2018

Reading as a writer, an attempt.


A few (non-comprehensive) thoughts about what I've read this year, so far: Novels/novellas edition.

I haven't finished many books that didn't work for me this year. Just two; Every Heart and Black Tides. 

Every Heart had some older-man-love by teen girls as part of their paradise and that creeped me out despite being realistic. It may have suffered because I read it right after Perdido, so the setting, which was probably perfectly adequate, felt flat and bland and undeveloped by contrast. The evocation of being an outsider, rumor mill and instant distrust worked, as did the evocation of hunger for a paradise glimpsed and lost, the fragility of trust and of children's futures.

Black Tides I had the most trouble with, partly because it succeeded in making me care a great deal about its characters and denied me massive chunks of their lives. Too much was implied and unspoken, and the time leaps were too large for me. I would have preferred this filled out as a novel, apparently.  I'm told if I'll read the sequel that might fill in some of the gaps, so I'll have to do that. Mom as villain is a trope I'm tired of and she was kind of a cardboard asshole at that. This is a culture I'm not as familiar with, (even though it's fantasy, it's a fantasy Asian culture) and as a writer I should think about assuming my readers have cultural familiarity with every aspect of my character's lives, and as a reader, I should not  expect Ts to be crossed and Is dotted that I would NOT expect (or need, or want) from a more Euro-centric story.  

I did not have that problem with Raven Strategem or Food for the Gods, but the story narrative in those two novels did not require massive time passage (and any areas that did lent themselves to tightly written flashback). 

Lee's Raven worked for me because the bizarre, math-based war-eclipsed universe peopled with such powerful, outsized characters and relentless stakes; I cared about Charis and her "is he insane or not" general; and the larger mysterious manuevering. I'm so wrapped up in all that I don't even notice the words half the time, so I don't know how Lee worked that magic.

Khaw's chef in Food is the epitome of "protag between the devil and the sea," or in this case Hell and his ghoulish bosses. He's totally screwed and knows it, and deeply, deeply in love and shows it. She makes me care about the future of a guy who cooks humans for a living, and that's tall damn bar. It's much more a mind-candy read with its Urban Fantasy, commercial fiction feel and almost cheerful gore. Moments of normalcy are a relief. Flaws: war between the gods didn't always make sense, but I was reading it really quickly.

Hoffman's books (Chapel Hollow series) delighted me. I know Nina, but had read very little of her work, and I'm going to need to fix that. I'd probably avoided them because they're classified as horror, but they're what I would call cozy horror, with a pagan underpinning; horror I can handle. Young-adult feel, very believable characters, escalating, magic-peril situations. They're also set in the PNW, so they feel very much like home to me. Flaws: Villains felt a tad cardboard in Silent Strength of Stones.

Riverwalking worked for me due to the evocative nature of places I've been and want to visit; the way Moore blended the considerations of river rafting, hiking and camping with her family and professional academic responsibilities, her vulnerability and her very clear words. Much sensory detail about something I long to experience viscerally.  

Beasts of Tabat delighted me in pretty much every way (it's the most recent read, and I tend to gush over the last thing I finish). I cared about the two main characters, winced over the poor choices they made... and understood them. I think that's what made this stand out, is that those two characters made bad choice after bad choice, making their situations increasingly perilous, and those choices fit their personalities and made perfect sense. (This is true of Khaw's protagonist as well, although situations force his hand repeatedly). I wanted to beat Rambo's characters about the head and shoulders for their stupidity, which meant they were well drawn. Now, the story isn't over and I'm still mad, because I had expected resolution at the end, although the sequel is supposedly downloading onto my kindle any day now.

Perdido Street Station is a character itself, the city as character in this immersive, bizarre world with its sticky mysteries. The in-depth, character-filtered descriptions are vivid and awesome. A rich palate of place and people. And just fucking weird, with a grinding, terrifying plot. Mieville breathes description, and does not hold back the words. Reading his work changed how I approach describing my aliens.

Digger is just delightful in every way and everyone should read it, along with everything Ursula Vernon writes. 

Whoops. Unfiltered praise! I might be getting tired; time to shift to something else.






Friday, May 4, 2018

Catching a Full Breath


I both love and hate that quiet clear space between one project and the next. There's a sense of aimless scrabble and "but but but but I should be BUSY" and a "shut up and say 'ahhhhhh,'" from my hindbrain, who really wants to enjoy this already.
*inhales*

Last weekend our choir had our Spring concert, and one of my primary foci was breath. Taking deep enough breaths, only breathing at the right times. It sounds clunky and amateurish if you breath mid-phrase. You can't hold a note if you don't have enough air in the first place, if you use it all up too soon.

Creative energy feels like breath. This clear space between big writing ideas feels like the inhale, and I want to fill it with fascinating ideas, clarity of purpose, new ways of thinking about writing, clarity in my surroundings and just... rest. Less sleep and more getting out into the woods, which we did two weekends ago, hiking to a magnificent waterfall. Reading Riverwalking had reminded me how much I need Forest in my life. Hoping to do more of that this season.

 I'm not *quite* done with the tinkering on the novel (Purpose/Moriakt's Apiquai). I've got trimming to do, and had some thoughts today on how to deal with the tonal sidetracking that's happening mid-book. But momentum is carrying me forward, despite part of me thinking I should wait for feedback after shipping it off May 1 (on deadline!) to [exceedingly wonderful feedback opportunity]. 

I've caught up around the house a bit (we're no longer in danger of death by dustbunny), and caught up on my tracking. I'd been kinda ovaries-to-the-wall (with the occasional depressive slump and two out-of-town-trips) for two months. Which feels marvelously productive in one area, but there's all this other stuff that hasn't gotten done. 

It has been awhile since I have given myself any thinking-on-paper cogitating time, which this brain needs to SORT THINGS THROUGH. Ghods and jackals, I admire people who can do that on the fly, in their heads, and retain any of it. I frequently don't retain it even when I DO write it down, which is ... well, partly explains the whole Pheonix nature of my existence, I suppose.

Anyway. Things I'd like to sort through: 

-- writing skills and the work I am and am not doing regularly to improve
-- some of the reading I've been doing, and how those writers succeeded at what they were doing, and how some of their choices didn't work for me but clearly did for others and why
-- a general "whew, here I am, here's where I want to be, am I on the right track and if not what do I need to change."
-- ways I can breathe fresh energy into my life on a more regular basis than once every three months.

*exhales, inhales* 

That's a start.

Sunday, March 18, 2018

Singing and writing together

Taking a moment to write about a nonfiction book because I want to apply some of the lessons from my singing to my writing.

First. I've been doing daily vocal warmups and a bit of time practicing songs for... has it been three years now? At least two; and I've had a minimum of two breakthroughs with my voice: volume (the lid is off) and ease -- effortless extension of my range in both directions by several notes. I'll never be a solo concert singer, but ... well, I can relax and actually open my jaw now; I've got at least an extra half-inch gap between my teeth when I sing, though it *feels* like two inches (LOL), and what sounds to ME like a room's worth of volume. M. can hear me singing clearly through two closed doors while the shower is running. People can hear me when I speak in crowded places because I can support my voice now.

All that from weekly half-hour lessons and 15 minutes a day.

What kind of breakthrough could I have in my writing from applying the same approach? I've long tried the 15-minute practices Eric Witchey recommends, but getting myself to commit to that disciplined practice *daily,* with regular check-ins has been ... problematic. And such improvements in writing are harder to quantify, although "I'm not making the same mistakes in my short stories" would be a great first step.

Singing is easy because I can do my daily 15 minutes while in the shower, and my weekly lesson is scheduled. Perhaps if I link my writing sessions to my second cup of coffee (or to *earn* my second cup of coffee)... I shall try this beginning Monday. And I could take a half-hour on Wednesdays to think and read about craft.

At any rate. I just finished reading The Performer's Companion (subtitle: A Guide to Conquering Performance Anxiety). I'm reading it for my voice instructor, who got four books on performance in at the same time.

 Like Performance Power for Singers, which I read two years ago, I felt very much that I was brushing against concepts I'd read about many times before, or touched on in different ways: meditation, relaxation, visualization for success: discipline (although in this version, I'd say that last word came up the least; she emphasizes play rather than discipline, but to the same end). She also incorporates the Alexander Technique, which I'll shorthand as body awareness and good balance as contrasted to "good posture."

Author Sharon Stohrer spends some time reassuring the reader that performance anxiety is normal, and a certain amount of tension is essential to a good performance. Then she spends chapters on mental preparation, intentional rehearsal, performance prep, physical prep, nurturing your inner artist, tips for backstage and getting in the performance mindset, the value of investing in oneself (including the value of music to society) and a bit about the Alexander Technique.

She has checklists of suggestions in almost every chapter and strongly encourages the reader to try some or all, and to track what does or does not work in a journal, so one learns what works for oneself, because everyone's needs are different. She does make it clear that all of this is work, or at least an investment of time, and that it is a worthwhile investment one should take seriously -- and that it is of serious value to re-instill a certain amount of play into one's discipline.

And she makes the point that if you try all she suggests and nothing works, therapy is a valid and excellent next step. She or other singers have tried the things she suggests, and she uses many of them, and she still needed therapy, worked out her issues and was able to return to the stage. That in itself is a supportive and honest message I appreciate. All that practical, experiential background gives this book, which spends a certain amount of time on the emotional/performance balancing act and her own professional experience, a heft it might not otherwise have. Stohrer is helping her readers overcome anxiety and stage fright, so her focus on such emotional support is entirely appropriate.

 Other than a sample log, it lacks worksheets, although it is rich in suggested practices and exercises. It has a reasonable resource section. It does not push the Alexander Technique (the author is a practitioner), and does not get into that until the last chapter.

I have difficulty not comparing TPC to PPforS; the latter I remember as feeling slightly disjointed, and written as if the authors thought students would be encountering these skills (meditation, visualization) for the first time in their lives, but also broad and rich in ideas. It also felt... dated, somehow. Stohrer's book, with its references to 9-11 and  might feel the same away in another decade.

Tuesday, December 26, 2017

2017 in review

Did my year-in-review tracking today, with an eye to 2018 improvements. That was a full-day time suck, but it's a useful exercise. Horrifying in some ways, but ... the problem with going in 15 directions at the same time is you don't make much linear progress on any one project. You make a little bit of progress in a lot of directions. I'm adjusting to that being my style, although I am also learning that I can focus on one thing for a day/week/month at a time and actually COMPLETE something. Like this little review, which realistically took me six hours in part because I fell apart in tracking several times during the year.

From Jan. 1 through winter solstice

Classes: 
       Afrofuturism with Tananarive Due and Steven Barnes. 
       Eric Witchey's Fiction Fluency (long form), 
       Short Story SF Weekend with Nina Kiriki Hoffman at Blue River.

OTHER social/professional stuff
     MV writing retreat. 
     Regular Wordos (put four? stories on table), crit group and Scriptwriters' meetings.
     Wrote with Nina, Erin, Alexis and others both virtually and in person frequently; Accountability txts with Erin

READ MORE BOOKS THAN LAST YEAR
     23 novels/novellas (two manuscripts), four anthologies and one nonfiction 
       (Started but failed to track short stories read; would like to do that better next year)

Finished rewrite of one novel in October (first pass)
     Read it aloud in Nov/Dec and came up with a list of last revision passes for issues identified, including dialogue and world-building. (Tracked 358 revision hours for 2017, including ss revisions)

Wrote a novella draft (36K) during NanoWrimo.

Total new words in 2017: 90K; roughly 1.5k a week.
     Submitted for publication six times.
     25 skill building sessions, 108 critiques of other's work (flash, ss and two novels).

Total of 715 writing related hours in 2017 
      (does not include reading, but a place to improve; that's a mere 14 hours a week in 50 weeks. I'd love to blame that on bad tracking but I don't think I can. It's probably a good thing I can't track how many hours I spend on FB, Twitter and PvZ. I might ought to try).

NON-WRITING STUFF, summary
Took myself off antidepressants when they stopped working.
       Avoided any major crashes (pulled myself out of a few minor ones)
Meditated semi-regularly 
     (average of once a week; could be better). 
Walked and worked out some. 
     (I need to up the frequency of workouts and walking mileage next year for my mental and physical health)
Started physical therapy that has really helped my shoulder, back and elbow.
Worked on learning French (and started an attempt at Japanese)
Learned 20-ish new songs between choir and personal work; regular vocal practice.
      Improved my range, volume and clarity. 
Political work: several protests, vigils, many letters, emails and calls to legislators; donations. 
     About 31 (tracked) political acts. (more in 2018). Crocheted about a dozen hats. 
Two large-ish house maintenance projects completed.
Did fun and supportive stuff for friends and took some time for self at coast and in E.O.
     (more forest time next year please)
ECLIPSE!!!!
PARIS!!!!! and Iceland!

Sunday, August 6, 2017

Back to meditation

Once I start meditating again, I'm always stunned that I resisted for so long. 

It opens up a quiet space in my head and lets me stay there, when chaos and overwhelm threaten. That's so damn useful. 

First I fall out of the habit: no time. Any of dozens of excuses, until it's been a few weeks. Then I find myself actively avoiding meditation, convinced I'm hiding from something horrible; my body and brain are going to tell me I need to turn my life upside down. Or that I'll be embarrassed for being deliberately blind to something obvious.

And sometimes I'll discover the latter, but, yannow, it's all part of ME. Meditation doesn't demand action. It just lets me hold knowledge in a quiet place so I can decide what to do about it instead of being bullied by self-recrimination, buffeted by indecision and self-loathing and the sense that the world is blowing up in my face and I don't know what to do about it.


Meditating doesn't tell me what to do, but it does help me step away from the rather useless "vibrating in place until I melt down" reaction. It would be useful to remember that.

Monday, June 12, 2017

Musings on Paris and Place

We've been back from Paris and Iceland for almost two weeks now, and I still haven't processed the experience.

We crammed in three days at the Louvre, one at L'Armée Musée, one at the Palace and gardens of Versailles, one at the Rodin Museum, a half day in the Jardin de Luxembourg and of course visited the Cathédrale de Notre-Dame, the top of the L'Arc de Triomphe and the Eiffel Tower. Shopped. (AND I read three novels and started on a non-fiction book. Need to post separately about those; they were all excellent).

And ate.
And walked, and drank. Took too many photos. And I looked at things, looked and watched and listened.

Then culture shock! We stayed in Reykjavik for two nights on the way back. On our full day in Iceland we visited the black sands beach, the remains of the glacier on the volcano that stopped European air traffic a few years ago, and nearly a dozen magnificent waterfalls.

And ate. I'm gonna have to do a separate post on food.

My brain's too full. I want some conclusions from the trip, something more valuable to me than just rest and relaxation, and I'm not coming up with much. An attempt:

   -- my parents picked up a lot more from their service in Paris than I knew. I know very little of their lives in France. I saw some of Dad's gestures and expressions in the faces and bodies of older Parisian men. That was comforting and disconcerting. Paris was reflected in some of Mom's cooking, but I already knew that. She always told me she'd truly learned to walk in high heels in Paris, because of the cobblestoned streets; walking on them made that far more real and more astounding.

   -- the constant reminders of WWII surprised me and touched me in a way I hadn't expected. The plaques honoring those students and residents who died defending Paris as the Allies fought their way in had all been decorated with flowers. Oh the feels. I finally lost it in the army museum. I'd watched a video that included a clip of boys moving sandbags and a woman in her work dress and flats shoveling to help build up defenses that day -- and then I stepped into the Holocaust room.  It's small and concise and given the direction the current U.S. "administration" is headed, all too relevant. Do you know how *many* camps there were?

  -- Paris is very much an international city, but I'm not sure I'd call it a melting pot city. (caveat: we barely left the central core of Paris). I saw a lot of Hindus, Black people from various walks of life (as well as both residents and immigrants), people who I think were Indian, and some Pakistanis. Most of the darker-skinned people I saw were in blue-color jobs, service jobs, or what I call desperation-sales jobs; standing outside museums and tourist areas hawking trinkets no one buys. The sanitation workers were black; their supervisor, white. The maids were white and black, the office staff white. The Louvre had staff of color in more "white-collar" positions than I saw anywhere else.  There was a trio of black women who worked together at the Louvre; one had shin-length pink dreads, another a massive "do" of white dreads and the third with a different, though not quite as eye-catching style; if I remember right it wasn't dyed.  I wondered if the vivid hairstyles were a "if you can't be bothered to tell us apart can you at least distinguish pink from white from black?" statement; they didn't look anything alike but ... listening to the black women in my own community, that doesn't matter. I can't say I saw many Asian-descent residents, but I'll admit I was focused more on black faces. I saw a ton of tourists from China, Korea, Japan, likely other places, both in the Louvre and at Versailles, especially.  The trip to New Zealand and this trip convinced me I have a lot of work to do on my language and facial recognition with asian cultures.

   -- Tried to speak French, but nearly everyone replied in better English. I finally continued speaking my crappy French because it was the only way it was going to get any better. Mixed success there. It was frustrating because we were there as Macron was taking power, and I wanted to hear what the average Parisian worker thought about all that, and despite some great eavesdropping opportunities, I got nothin'. This is what resisting making mistakes in front of actual humans gets you; I was unwilling to humiliate myself in the States taking lessons when I could learn from an app. So I didn't get everything out of the experience I wanted, and my French is reading-only. That's useful; I could read museum labels. But not nearly as good as it could have been. An excellent reminder that I need to Go For It and Risk My Ego more in order to make long-term progress.  

 -- I should tease apart some of my feels about the "world culture tour" that was the Louvre visits. I need to go back through the photos I took a second time.

-- Also tried to pay attention to fashion, because it was Mom's passion, and ... Paris! ... but the deluge of tourists, residents and changing seasons meant that I saw everything from shoulderless wedding dresses to miniskirts to nearly full hijab to heels and T-shirts and jeans to running suits to skirts and blouses. The subtleties that might be "this year's fashion" passed me by in all that. There was a particular length and weight of scarf it was hip to have, was in several suit-shop windows. Men's suits were more tailored, and if I'd been interested enough I could have figured out what was different about them, I suppose... but women's clothing was too varied; too much to sort through for my overloaded orbs. Although I did take a picture of a heavy navy iris-print women's suit with capri-length pants and equally tight and short sleeves. The fabric was amazing. The suit ... was fashionable, I guess. It's a look I hope does not catch on.

  -- As much as I enjoyed Paris, and I want to go back, I didn't relax until the trip's eleventh day, when we were on top of the Arc. I felt at home, finally, or like I'd crossed off the last "biggie" on my list, or maybe I was just lightheaded from the exertion and glad I could finally admit I had some version of walking pneumonia. (oh, yeah. Six to nine miles a day and coughing myself awake all night). In Iceland I was at home almost immediately. M. told our guide, who was nervous about me being so close to the glacier, that I was pagan and water was my element, or something to that effect, and it's true that the water and the land felt real to me. I kept thanking spirits/the land/the water/the volcanoes for our safe passage, but I wasn't worried about our safety, it just felt like the right thing to do, to be grateful and honor the land. The only place I felt that way in France was at the Crypte Archéologique, where we went under the streets near Notre Dame, and in a few places in the Louvre. Actually, there was a  park near the river on the island that Notre-Dame stands on that felt... old, in the same way that Iceland feels new and alive. If that make any sense at all.

 -- It has been hard getting my head back into work here at home, both the novel and the short stories. Part of it is that I feel insignificant after all that pummeling by world culture and world issues. But  I also have been feeling overwhelmed by the experience and needing to put it in some context, to actually think about it and appreciate it, before I can move on. Hopefully this musing helps that somewhat.