Trans/plant/portation

Emerging writers flock to conferences like the one just held by the Pacific Northwest Writers Association because they’re looking for information–from presenters with tips on craft and marketing, from fellow writers on lessons learned, from the bulletin board that lists local critique groups, and of course from editors and agents who are broadly viewed to hold the keys to the palace of publishing. We practice our pitches, memorize our log lines and synopses, update with lightning speed our writing credentials for our bios, all in the hopes that some paragon of the industry–or new agent looking to sign unknown authors–will ask for a partial manuscript. We feel the onslaught of butterflies invade our intestines when we’re instructed to give a specific subject line in our email message, like we’ve just learned the 21st Century’s version of “Open, Sesame.”

Before you click on that send button, do a few things: Read More…

The first time I came to the PNWA Conference I was by myself, staying as a guest in the man cave of a friend’s house and commuting to the conference hotel by bus. I got to the event early and stayed all day, rumbled home on uneven roads, and zonked out until it was time to repeat the process in the morning. The next year I came with my sweetheart in tow, who was 9 months pregnant at the time, so I ducked out often to grab a meal with her or check in. This year I’ve got a family with me, meaning that I’m attempting to cram baby watching time in with networking, going to panels, and pitching stories to industry folks. Now that exhaustion from two years ago seems tame in comparison.

Also, this is the first year I’ve attended the conference as a published author. That’s pretty rad. Even still, my self-pessimistic nature continues to knock at my mind’s door. Oh, look at your puny stack of one book. And you call yourself a writer?

I’ve written before about how I’ve sent my inner critic away on a permanent vacation. Sometimes it pops back for a rendezvous with the rest of my thoughts, and I have to shoo it away again. Yesterday it tried to set its suitcases down and I handed it a ticket to Argentina. Go see the llamas and glaciers, I said. It slumped off, pissed and dejected. Read More…

We adult-type people recognize that life is hectic, tilted toward entropy, and full of aggravation. Big moments, unexpected problems, and the aforementioned garden variety pressures get us stressed out, and I know that is an understatement. But the writing (and the dinner making, diaper changing, phone call returning, toothbrushing) must go on. Of course nothing resolves stress like actual problem solving, but let’s presume that some stress is ongoing or can’t be eliminated before one needs to spend quality time with their project. Just what is in my particular box of tricks? For writers like me, having a toolkit of tactics to deal with chronic stress so the creative whatnot can flow is critical stuff. Check out the following:

Do something that relaxes you, and have time set aside for writing immediately thereafter–Book a massage, read something by your favorite author (always also good for inspiration in general), go for a walk to release some stress-killing endorphins, and while you’re still in the afterglow, tackle your writing project. If you’re still staring at the screen in frustration, hit up other sections of your brain by picking up a pen and making notes, jotting down back story, writing in longhand a description of the protagonist, and so on. Often one successful creative jolt fuels the next. Read More…

From time to time I’ve posted excerpts from my works-in-progress. I did several for Parallax, now called The Unintentional Time Traveler. Here’s one from my very latest project, about a world in which teenagers reach adulthood via a fantastic metamorphosis. Don’t look for perfect writing, as I’m still in first draft mode. But to see where I’m going with this project, here is a brief scene from early on:

Hold on, hold on, I told myself. I had a searing need to flap my arms, or wings, or whatever protruded out from my shoulders. Me, I was me, I needed to remember. Hannah Pace, that’s me. I live at 31927 Carousel Boulevard. My cat is Mr. Stinkers, named when I was little. I’m smart and not very pretty, and not sure I want to be, anyway.

Forget pretty, I’m some kind of small dragon now.

I gave in to the urge to shake myself out, and amniotic fluid exploded off of me, landing on the ceiling, desk, and my True Blood poster. Dad would not like this, me having my meta without anyone around, but I didn’t feel particularly eggish the night before, so I gave myself a pass. Read More…

First lines are the mules of literature these days—they do the heaviest lifting in a given book, needing to “hook” the reader into reading more. Writers, I’ve been told, need to show the characters, the overall context for the story, at least a glimpse of the story’s novelty, and the conflict that will drive the plot. That’s a ton of work for the start line of any marathon. Come to think of it, real starting lines only mark a space. First sentences in fiction mark well more than the small area they occupy. Blog after writing blog expresses concern for writers who send in the first several pages of their manuscript—are there enough motivators for readers right at the outset? One conference I attended had a “first page review” with a panel of agents and editors, and more often than not, the industry experts laughed at the submissions presented to them. Surely there were a few ugly dogs among the contenders, but even so, one mere sentence that is supposed to stand above all others is a precariously high bar, and it’s something that feels (to me) less about art or creative integrity to the piece, and much more about marketing standards and focus group data. Consider the following first sentences:

• Call me Ishmael.
• It was like so, but wasn’t.
• All this happened, more or less.

Yes, I picked openings that set up the narrator (Moby Dick, Galatea 2.2, and Slaughterhouse-Five, respectively). Do they say enough as a discrete sentence? I may be a more generous reader than average, but I’m willing to stick with a text past the first 50-300 characters or 5-30 words. (Robinson Crusoe starts off with a 50+ sentence, by the way.) Some ideas may work better with a little set up and delivery. Read More…

I was very fortunate to get a chunk of time from trans humorist and author S. Bear Bergman about ze’s project for young readers, Flamingo Rampant, which got some support through Kickstarter earlier this spring. With two books due to be released on June 1, Bergman answered some questions about these trans-themed picture books for kids, and what ze read as a youngster.

EM: You’ve written for LGBT audiences for years—what brings you to books for young readers?

SBB: This particular project came about because a couple of years ago, I was contacted by the kids’ camp director for the Gender Odyssey conference, Tanner, who asked me if I thought I could come up with a children’s story or two to read the kids. They wanted them to be gender-themed, but entertaining and fun—I have the clearest memory of Tanner saying to me “some of the things in camp should be abut gender, but I don’t want it to be “Welcome to camp! Let’s sing songs about our genitals!”

I said I would give it a try. And in a couple of months, I had produced these two stories.

EM: Tell me about your project—what’s the story, who are the characters? What kinds of books are these? Read More…

My writing has been a struggle for the last two months, what with my office needing significant chunks of my time, and an active baby who requires I chase him around the house giggling for hours at a stretch.  Sometimes when I sit down to type–much less write–I wind up staring at the keyboard through two old episodes of Law & Order, and then I need to get started on something else like dinner or another round of The Baby Chase. Lately my sleep number has been out of whack, putting another limitation on my writing time, as I contort myself to find a position that doesn’t sting my hip socket.

And yet there is a light at the end of the tunnel. This Friday we will no longer be understaffed at work. Emile is sleeping better through the night, and I have hope that balance will stop by for a long visit in my routine. I will be faced with a decision of which writing project to ramp back up for headway-making.

• There’s the YA novel about time travel with LGBT themes that has come close to representation twice now but that needs some work in the transitions (sic) between eras.
• There’s the YA novel about parallel universes with trans themes that is in the first draft. I’ve done all the work on plotting and characters, but I could stand to push both of these efforts deeper. And I’m at 18,000 words, so I’ve barely cracked past the beginning of the story.
• There are two novels for adults that I’ve plotted out and finished the back story but that haven’t seen me start writing. Those are probably going to stay back-burner until next winter, in all probability.
• There’s the sequel to Bumbling that my publisher would like to see me start, but other than this blog I’ve done no writing on it, nor have I mapped out the scenes or characters. Read More…

Let’s say you stepped away from a project for a while–anywhere from 2 months to a year, or thereabouts–and now you’re ready to dive back in. How do you do it? It’s an intimidating prospect. The names of the characters are fuzzy, or you can’t remember which was the daughter of the failed violinist, and which has the secret dream of finding her long-lost brother. Or you’re ready to deal with and extend the main story arc, but there are two subplots that annoy you. It could be that you’re no longer in the head space to continue the original tone of the piece for that matter, but whatever the issue, the story is haunting you enough that you’re ready to sit back down and give it another chance. If the pressures of real life have made you step away and you love each and every inch of the manuscript, it’s still cumbers0me to get back into the groove. Here are some of the things I do to re-start the engine on a languishing project: Read More…

The advice is to write every day, if you’re calling yourself a writer, that is. Every day. It’s a model of dependency because hey, writers love their stereotypes about being alcoholic. Or it’s a model about routines, the creative equivalent of tooth brushing. No, no, it’s about opening a space so the words can flow . . . into the drainage ditch of bad ideas. Okay, wait. Telling people to write every day is about injecting seriousness into what would otherwise be a simple hobby or a flirtation that never gets off the ground. Certainly there are a lot of people out there who talk about someday writing a book, but the last time they sat down to type it was on a brand new IBM Selectrix typewriter.

Stephen King, prolific author that he is, put it simply in the last millennium: writers write. Writers don’t talk about writing and not write. They write. (Apologies to Mr. King for my awful paraphrasing.) Read More…

I bring this up today because ineffective transitions killed my most recent back-and-forth with an agent on a novel of mine. You’d think an individual with personal experience transitioning would handle these story shifts better, but apparently, they’re two different things entirely.

Now then, with this case in question, much of any transition in the book had to do with the main plot point, uncontrolled time travel. With the protagonist at the mercy of something–or nothing–pushing him between the Prohibition Era and the 1980s, in different geographic locations, it was up to me to make sure readers could come along for the ride. A couple of my beta readers who looked at an earlier version of The Unintentional Time Traveler noted some bumps in the last third of the novel when time jumps occurred. So I sat back down with the manuscript and examined the language, the necessity of those movements. Read More…