Occam’s Phaser: Simplicity in Fantasy

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Photo from wikipedia. Text from the sick depths of my soul.

Occam’s Phaser

Ding-ding-ding-ding-ding!

All right, people, I want you to take a moment and appreciate the fact that, after long practice, I may have just typed the nerdiest letters of my career. Occam’s phaser. Sheesh. Shove me in a locker, somebody, cause I ain’t makin’ it to senior prom.

With that out of the way…

(Occam’s phaser! Hurr!)

I want to have a serious talk.

You guys have all heard of William of Occam, right? Born in…well, probably Occam. A mendicant friar and a logician of the 14th century, who posited, among many logical principals, the idea that the simplest solution is probably the correct one. There’s more to it, but that’s how we non-logicians usually express it.

And a bunch of people took offense to that. Wouldn’t you? I mean, you’ve got this fancy theorem that took you like five years to embroider into factfulness, what business does this punk monk have coming around and going naw, simpler is better, dawg, and then you’re all like my name is Immanuel Kantstopdis, and I think nature is diverse as hell. And then, they see you whip, and possibly nay-nay, and by God–

Okay. Overcompensating. I’m going somewhere with this, I swear. Or I’m trying to.

Occam’s razor is the idea that the simplest solution is probably the correct one. Occam’s phaser, which is my idea, is the same general principal applied to your fantasy novel: the simpler you keep it, the more your story is likely to work.
We’ve all read those epic fantasy novels. You know, those ones. Where there’s a thousand pages of scenebuilding before you get to the plot, where you need the Cliff’s notes to keep up with the list of characters, and where everybody, everybody, gets paired off with either a romantic partner or a small country by the end of the novel.

When you write your Amazon review for this novel, it probably features the phrase ‘excellent worldbuilding’, mostly because, well, somebody did spend a lot of time, and that much literary real estate has to be worth something. Trick is, you can sell an acre of swamp and call it ‘real estate’. You can sell a shotgun shack (doors and windows not included) and it’s still fricking real estate.

But that’s not what you want real estate to be, is it? You want your novel to be in Beverly Hills, to have a midcentry modern dream house on it. You want lights to turn on when you clap. You want Jennifer Lawrence next door, and you want her to bring you casseroles when you move in. (Or organic cruelty-free parsnip chips. Or whatever hip people eat now).

My point is, you only need to:

1) Have a character in your story if that character is necessary to the plot,
2) Describe the setting in detail if the setting is plot-crucial or particularly unique,
3) Add in a plot twist when that plot twist is natural, and doesn’t take a lot of work to fit in.

That’s it, baby. That’s Occam’s phaser.

It’s easy to get carried away with your own descriptive powers whilst in the throes of composition. Problem is, it isn’t readable to do so. We don’t need to know the name of Lord Aston’s squire if this is the only scene she’s in. And a few descriptive terms–surly, for instance, or sunny–will probably suffice, if you need them at all. When you spend a paragraph or two describing this squire, you’ve indicated to the reader that she’s going to be important later on in the story. That’s what description does. And when you make that promise too often, and don’t stand by it, your reader doesn’t know what to pay attention to anymore.

Same goes for settings. As an adult human being, I know what a field of grass looks like. I know what an oven looks like. Now, unless there’s something important about this oven–the main character’s mother has cooked every dinner he’s ever eaten on it, and it represents his sadness over leaving home–or something unique–it’s a magical oven that only cooks children–I don’t need more than a little bit to know what I’m looking at. Woodstove might tell me enough, or gas oven, or big white oveny bastard brooding in the corner.

And plot twists? Oh, Jesus, plot twists. There is nothing, nothing more annoying than an unneeded plot twist. Ask yourself, always: is there some question here that hasn’t been answered by the course of the story so far? If there is, twist the night away. If there isn’t, hold off. It’s just going to throw your reader off balance, and leave him expecting a major shift in the plot…which, since your plot twist doesn’t go anywhere, you’re not going to give him.

So. Only have Bertie the Bertblandished carried off by the dragon if it’s going to change your plot. Does it make him see the importance of fire-proof wizard’s robes? Does he become friends with the dragon, take him back to the castle to help them win the war? Does he realize, uncomfortably, that the dragon is actually his mother, and maybe that’s why everyone he has a burping contest with seems to spontaneously combust.

If it does one of those things, that’s great. But even then, it better do one of those things because that question has been raised in the natural course of your plot. Maybe this annoying wizard-chickie has been harping on him about fire proof robes for the entire story, and now he gets the reasoning, and starts to talk to her more–and it turns out she’s just awesome, an incredible person, and she has a lot of really good ideas for defending the castle, and he winds up marrying her or something. You get the idea: a plot twist has to answer a question and move the plot forward. Otherwise, you’re just wasting everyone’s time going retrograde. Remember Ptolemy? Time waster. Yeah, you heard me.

(If you got that joke, please join me on this schooner full of people who aren’t getting dates for prom. It’s warm here, and we have twelve-sided dice.)

So, when you write, consider the beauty of simplicity and pare accordingly. But remember: even William of Occam didn’t mean something had to be bare bones to be correct. Embellishment can be beautiful and effective, too–as long as you keep it in moderation.

Why Money Matters in Fantasy

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One evening, I fell asleep. The next morning, I didn’t wake up.

Well, that’s not quite true. Obviously, I woke up eventually. Just–not by natural means. I woke up with a syringe in my arm and four strangers looking down at me.

The syringe was full of glucagon, and the strangers were EMTs. They saved my life. They were at my house because my boyfriend called 911 when I wouldn’t wake up to his usual morning poking and prodding. I’m a Type I diabetic, and I was having what the fancy folks up on the hill call a hypoglycemic episode: my blood sugar was in the teens (normal range 80-120), and my body had, in an effort to keep me alive, shut down most of its higher functions.

This is, obviously, a serious thing. Four EMTs sort of serious. If a hypoglycemic episode continues long enough unchecked, it can result in brain damage or death. And the worst part was, I had no idea why it happened. I hadn’t been drinking or eating anything unusual the night before. I had taken the right amount of insulin at the proper time. So, when the nice people who just saved my life asked me if I wanted to go to the hospital, I said yes.

Now here’s the part I’m not proud of. Saying yes only happened after I thought about it for a few minutes.

You see, I was pretty broke at the time. And my first thought wasn’t about saving my own life, or making sure that this never happened again. My first thought wasn’t Definitely Not Dave’s peace of mind. It wasn’t even that we were short at work, and my boss would need me (I think I was off that day, actually).

No. My first thought, ignoble though it may be, was:

I can’t afford this.

That’s right. I could have died, and my first thought was about money.

It was horrifying to realize. Just as horrifying: should the zombiepocalypse happen, the first thing I’d probably do is go rob a pharmacy of all its insulin. I’m not an evil person, and I certainly don’t think crime is the proper solution to anything. But when you suddenly need a decade’s supply of an expensive medication or you die, crime starts looking much more viable. You don’t have the money to live, otherwise, and your insurance certainly doesn’t cover extra vials in the event of flesh-eating manbeasts.

Why am I mentioning all this?

Because I want to talk about money in your story. Especially your fantasy story. You see, all those years your parents told you money didn’t matter were cruel, cruel lies.

Money does matter. Money matters more than anything.

It’s one of those unpleasant truths we realize early on in adulthood. Somewhere in your mid-twenties, at the latest, you stop being able to get away with the shit you got away with earlier. You’re no longer young and inexperienced. You’re no longer going to school. You’re no longer living with your parents, paying nominal rent whenever you can afford it and sneaking Mom’s Triscuits out of the pantry when you want a snack. When you get your first three hundred dollar heating bill, you realize why Dad always guarded the thermostat like a national treasure. When you get your first two hundred dollar water bill, you realize why Mom always shed a solitary tear every time you washed your soccer uniform and just your soccer uniform.

Now, my dear, starts a long, grey adulthood. Enjoy plugging all your appliances into the same surge protector so you can unplug them easily when you leave the apartment. Enjoy taking baths and not showers because of the four dollar difference on your water bill. Enjoy not washing your jeans until they stand up without you. Enjoy never visiting your friends in the country because it costs ten bucks in gas just to get there and get back.

Unless you’ve led a very privileged life, some of these things sound familiar to you. Deprivation and conservation are the story of being a grown-up, for most people. You’ll make more money and get out of it, eventually–hopefully. But when you don’t have a lot of cash, your own poverty rules everything you do.

Which is part of why it surprises me–even shocks me–that people in fantasy world never seem to be poor. Even when the author says they’re poor, money just kind of materializes. Stuff just kind of materializes. And the possessions these supposed ‘poor’ people have: well. They don’t always match up to the poverty described.

Consider, for instance, a family of subsistence farmers in a medievalesqe village within a make-believe Arctic Circle. These people obviously have a hard life, and most of it is probably lived in several feet of snow. So, two things they probably won’t be doing, that your silly ass might try to make them do:

1) Living in wooden houses, and
2) Owning horses. 

At first, a wooden shack and a Shetland pony seem pretty in keeping with what we know of a classic Anglo fantasy-type world. But if it’s really cold, you need to think about such things twice before you do them. If they live in wooden houses, where the hell are these trees coming from? Not a lot of timber, within the Arctic Circle. (You might want to, likewise, consider what they’re making fires and tools from. Hint: it’s probably not wood.)

And the horse? What are they feeding this thing? A big animal like that is expensive to keep up and would be difficult to keep warm in a frosty climate. You could trade the horse in for oxen or reindeer, but you’ve still got the upkeep problem. These subsistence farmers more than likely run that plow by themselves, and, for that matter, probably can’t do too much crop-growing anyway. Breaking up the almost permanently frozen ground would be a toughie. Their diet is probably heavily meat based, and they probably have all the health problems you’d expect from that (or would they? Many Inuit cultures didn’t.).

I think the place where we get confused is the idea of value versus actual paper/metal money. Just because a society doesn’t have a lot of gold pieces floating around doesn’t mean things have no value: a cow, for instance, might be worth three gold coins, but in a tiny village on the outskirts of the world, the likelihood of someone having those coins is low. They might, however, have two goats, or thirty yards of fabric, or a winter’s supply of firewood. Therefore, the value of a cow is a little mutable, but oh buddy, it is still value.

So please, when you’re writing a fantasy world, do consider your monetary system. Consider what things are worth and why. Consider that our cow, plenty valuable in green pastureland, might actually be less valuable in a desert or the Arctic, where no one has the necessary resources to use said cow for its true value. And consider that a young person starting out in the world is going to actually need money, and will probably make some decisions based on funding (or lack thereof).

Fantasy has this tradition of treating the mercenary as a figure of questionable moral fiber. But sometimes, my friends, to go on the quest, you need to raise money to buy the horse. And then, once you’ve bought the horse, you need some money put aside for feed, and a good saddle, and a horse blanket, and stable fees. Your peasant-turned-princess doesn’t just need a gown to go to the ball, if she wants to blend in: she needs a footman, and a carriage, and etiquette lessons, and dancing lessons, and a hairstylist, just to name a few.

Money is the blood in the veins of your fantasy world, just as it is in this world. There’s no escaping it, and you shouldn’t try. If your character is of a lower class, you can’t simply forgo the realities of living in that class. People do things solely for money all the time. (Be honest with yourself, boo boo. Why do you go to work every morning?)

Adventures are expensive. If nothing else, you wind up using a ton of vacation days.

(A note: for a great example of how to use money in a fantasy story, check out The Name of the Wind by Patrick Rothfuss, if you haven’t already. There is, to be honest, a lot I don’t like about Rothfuss’s writing, but this is one thing he gets spot on. And, in spite of having to think about money constantly, Kvothe has plenty of fun adventures. The way he learns to get around his own poverty is, in fact, one of the chief character-building themes in the novel.)

Why It’s Wrong to Motivate Your Villain

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Female Villains and The Impossibilty of Motive

(A note: there are mild Star Wars spoilers contained in this post. For those of you who haven’t seen it yet, but still care enough about Star Wars to be upset with me: don’t read. Also, quit breathing. Are we supposed to not talk about the damned movie for an entire month while you get your shit together?)

So it was around June or so that I started hearing rumors about the new Star Wars movie–interesting rumors. I was trying to go rumor-free until I saw it, but that proved pretty difficult: if you touched the Internet, the Internet told you something about Star Wars. I’m telling you this to explain how I heard this rumor and then didn’t unhear it shortly after. That’s important, you see, for the story.

Anyway, the rumor I heard, and then cherished, and then never unheard until I set foot in the theatre:

Kylo Ren is going to be a girl.

I felt a warm flush of pride deep in my bloated old-woman craw. What a victory, really, for those of us who grew up wanting the red lightsaber.

That rumor stuck with me for a while. Mostly because, at first, I couldn’t see why I found it so fascinating.

Of course, when I finally saw Star Wars, I was horribly disappointed. We traded the possibility of that for Anakin Lite?

I liked the idea of Kylo Ren a lot better when that masked and looming figure was female. Just because you don’t see it much–a woman villain, power-hungry, under a mask. Not wearing a low-cut lady outfit, not flirting. The sort of villain even boys want to be, because they could be that villain.

The hard truth of it is, it’s tough to find a good female villain. And when you do find one, she usually has one of these motivations:

1) A tragic love affair (in love with the man villain, hero did her wrong, etc.)
2) Revenge (someone wronged her–often sexually–and she goes too far to the other side taking revenge.)
3) A Devastating Trauma (family killed, kids killed, husband killed, etc.)
4) Life Is Just Too Hard As a Woman (so she has to go to the Dark Side to gain ‘freedom’.)

Nothing wrong with these motivations. They’re perfectly decent motivations. It’s just–they all depend on the actions or lives of somebody else. It weakens the perception of a villain, to start with this sort of backstory. And it doesn’t half explain away the evil.

The had truth of it is, as much as you see the advice ‘give your villain motivation’ spattered about online, you can over-motivate a villain. We tend to do this with women especially, since you don’t usually see a girl when you picture a power-mad despot taking over a small South American country. What could lead to that? What made her go from painting her nails with those cute Bonne Bell tiny nail polishes and dreaming about prom to military dictatorship?

It’s tough for us to grasp that a woman could be doing both (or not be into painting her nails in the first place, even weirder). So we overcompensate–we make out Evil Empress a great haughty beauty, we put her in a slinky dress, we make her a good person deep down, no really. (Don’t worry, I’m guilty of this too. It’s a hard taboo to break).

The thing is. Any villain, male or female, has one motivation for being a villain: being a shitty human being.

You might start down the path to the Dark Side because you’re frightened, or lonely, or angry. And there should be a starting point, and you should know what it is. But that’s not what takes you all the way. The one thing that makes you truly evil is being truly evil. Whether you’re a woman or a man, girl or boy, you don’t reach the point where you’re killing every elf in the city because your ex was an elf. You reach that point because you’re a despicable, genocidal person. You do other things that aren’t nice, too: obviously, you’re racist, but you probably also don’t tip. You probably have an inflated sense of your own importance (after all, you’re human, so you’ve got to be pretty decent, right?) and you’ve probably never held the door for one of those awful elves in your life. Actually, you probably make a stink when they walk down the same side of the street as you do. You won’t eat something if elf hands have touched it. When your sister moved into a house near the Elf Quarter, you probably said, horrified: but elves might have lived there. You probably made her move, because you’re also a domineering and forceful person. Or: you burned her house down and made it look like an accident. It’s okay, it’s better for her in the end anyway.

It’s hard, I think, for us to see women in this light. I don’t know why we like to see women as better people in stories (or, at worst, as ineffectual bitches), but we do. Maybe it’s the residual effects of Coventry Patmore and all the rest of those Victorian moralizers, but it’s not a good thing. Women can be shitty people too. We know that from our personal lives–we just have trouble carrying it over into fiction without stereotyping.

And a good villain is a shitty person. That’s what makes him or her a villain in the first place. There might be a tragic story (loss of a loved one, etc) that acts as impetus for the villain’s transformation, but this is not motive. A villain’s motives are hard for a good person to understand, and you want them to be.

Because this is your villain. This isn’t Barney the Purple Dinosaur, it isn’t that chick from your book club, and it isn’t your sister. This is Hitler. This is Stalin. This is Pol Pot. This is an awful goddamned human being. This is someone you want your audience to loathe.

And we don’t understand the people we loathe. When we do–and maybe this in and of itself is a part of your story–when we do, they cease to become villains.

Hitler had to take a dump every once in a while. He was vegetarian. He had a girlfriend, whom he probably loved. He probably had bad hair days, trouble tying his tie right, socks with holes in them, all the things that make us human. Maybe he loved skiing, dogs, relaxing evenings at home reading a book.

We all have these things.

But Hitler was also a genocidal maniac. We can understand why he did the things he did, inasmuch as we can see the logical train from reason to result. But we can’t understand why why. We’re decent people, so there is no great burning truth to us for Hitler’s motivations. It simply doesn’t exist, and the fact that it doesn’t should be immensely reassuring.

Long story short: let women be shitty, too. Shitty, occasionally, without sex and beauty (because sex and beauty don’t make someone shitty, nor do they cover up an innately shitty soul). Remember that your villain is a villain, and make them, regardless of sex, act like villains. A power-mad despot doesn’t have a lot of time for longing after old loves. It’s hard to take over the world when part of your brain is always focused on your dead children. Just let her be shitty. For women everywhere: let her.

A Note: For an excellent example of a villain who is ‘humanized’ without ever once becoming less of a villain, check out John Fowles’s The Collector. This book is one of the great exercises in point-of-view, rotating as it does between the collector and his collected. Read it all the way through, and then read Part I again. Trust me.

Writing Through the Lens of My Hair

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Writing Style

I have never had a bad hair cut.

You’re looking at the screen right now. You just reread that first sentence. You’re wondering what on Earth my lack of bad hair cuts could have to do with writing, or character building, or really anything you read this blog for.

Bear with me, Salisbury. For now.

I’ve had my hair, oh, lots of different ways over the years. First time I cut it short I was nine or ten, and it was short, short as a boy’s. I’ve varied it between long and short ever since. I’ve had bobs. I’ve had bangs. I’ve had boy cuts and stubble. I’ve had weird asymmetrical things. I’ve had mohawks. I’ve had pigtails.

I’ve been called a dyke for my hair. When it’s been long, I’ve been called boring and traditional (‘don’t you ever do anything interesting with it?’ whined a friend who, obviously, hadn’t known me for very long). I have, in spite of being an adult woman with large breasts, gotten sirred by waiters. I once, in my spiky bright pink days, had a psychiatrist ask me, almost as soon as I walked into his office: ‘so. Do you always wear your hair like that?’.

You’re probably making a face right now. And, yes, you’re thinking: well, obviously, there has been a bad hair cut or two in there, Emily.

Here’s the thing, though.

Not to me.

I’ve enjoyed every hair cut I ever had. Even the shitty ones. (Except that one time I tried to bleach my hair after dying it black and fried it. This is simply because I couldn’t get a brush through it. Also, I looked like a purple-haired troll doll.) I like being different. I even like, to some extent, other human beings wondering what the fuck I was thinking. Pshaw! That’s for me to know, buddy. That’s for me to know.

I suppose I wanted (except in the psychiatrist’s case, because, well, no one wants to get tranquilized for a hairstyle choice) to never let other people’s opinions and social constructions rule me. I rather enjoyed being a nonconformist, and the brutal honesty in that is that, yes, of course I cared what other people were thinking. I just wanted something from them other than approval.

I spent over twenty years dressing myself in ways I thought were cool. They were not, needless to say, ways other people thought were cool, heavens no. A floor length silk skirt and a tshirt is, apparently, something people have trouble getting behind as a fashion statement. No one likes leopard print with zebra print except me. That picture in the grocery store of me wearing a crown of flowers and holding aloft a hamsteak probably wasn’t avant garde to everyone else in the supermarket.

I looked in my wardrobe recently: black tees, black sweaters, grey sweaters, black tees. Jeans. Sneakers. Slip-ons. I looked in the mirror at my unremarkable hair.

What changed?

Did I change?

Or did I finally, after a decade, cotton on to the fact that the world is watching me?

Writing is an odd thing. It’s something, professionally, that you do for public consumption: your piece will get criticized, misinterpreted, misquoted, maligned. People–the vast majority of them–won’t ‘get you’. Even the few who really liked it won’t ‘get you’.

But at the same time, to write effectively, you’ve got to do it as though it would never see the light of day. You’ve got to write like Emily Dickinson–as though your poems would be found years after your death in a musty box somewhere, mouldering patiently. Honesty is a thing that can never be manufactured, and it’s necessary for art of any kind. I won’t waste my time telling you why: you either understand that or you’ll never write well.

My point here is: writing is a tough tight rope to walk. You’ve got to like it–I mean, really. You’ve got to. If you don’t, no one else will. But how much? Can you bear seeing your masterwork pulped and pooped out by people who just don’t understand you, whine whine whine?

So. What do you do? Do you bare your soul’s cheetah and lime green interior to the world? Or do you opt out, for the inscrutable black sweaters of concealment?

Or perhaps there’s some in-between here. Because, after all, it’s still you wrapped up in that black sweater–and you can’t have changed too much. Maybe you’re repping that literary black hoodie now because it’s comfortable and it’s finally stretched to fit over your boobs. Maybe there’s a part of you that’s not being dishonest so much as it’s being adult: perhaps it’s recognized, finally, that there are things far deeper and more subtle than clashing patterns to make people uneasy over, and that those things are, by far, the more important ones to pay attention to.

Long story short: write what’s on the inside, yes. But if what’s on the inside is crazy as hell, be ready for people not to like you. You’re not a maligned genius. You’re not a Beat poet with a bottle of wine and a handwritten diary of eastern wisdom. You’re not Oscar Wilde, breathing your last disconsolate de profundis in stifling luxury. You’re just an untried, possibly unpublished, writer with the same dream as millions of scribblers the world over: to write a book that everyone has read. You might have it in you, you might not. All you can do is write it, possibly promote it, and let the public decide. A lot of people want to be writers. I mean, a lot.

It isn’t you, you see, who decides whether or not you’re a genius. It never has been. That’s up to other people, and, curious though you might be, it’s better for your writing if you don’t concern yourself too much with it. Just wear what you feel like wearing, at the end of the day. Write what you feel like writing.

People have advice for you all day: write something the public will like. Write what you think a publishing house will pick up. Write what’s in your heart. Try to find a balance. Fuck everybody, write the damndest thing you can think of.
 
My advice is, simply: fuck all of them. Do exactly what makes you most comfortable. Individuality, shameless conformity: it doesn’t matter. Write in a way that makes you feel comfortable, and let society sort out whether or not you’re conforming.

In short: stop being a writer and write.

Love,
E

More Poetry For Poncy Millennials

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Well, guys. Sorry I’ve been so little in evidence this week. I’ve had a lot of rush to deal with at work, and some editing stuff to do as well–this blog totally took second, possibly even third, place.

I know. I suck.

In the meantime, posting a few more happy little poems about The Millennial Condition–namely, being a Millennial parent. (What’s so special about this? I don’t know. But plenty of people seem to think it is.)

We’ll be back next week with heartfelt articles and all that shit you expect. For now, CLEVER RHYMES. (Dear hipster moms of the world–I deeply look forward to you being indignant at me saying Thieves relieves stress. Long story short: I don’t KNOW what it’s supposed to do. I don’t care.)

LITTLE JIMMY

Poor little Jimmy’s come down with a cold!
Hope these antibiotics aren’t too old.

Coconut oil. His hair’s a mess.
A dab of Thieves to relieve stress.
Ginseng for focus, he likes shiny lights,
And don’t forget the multi-vites.
Fish oil in his morning tea:
We think he’s low on Omega-3.
For energy and steady will,
A timely dose of clorophyll
And carotene, for better sight–
He only takes one? That can’t be right.
Vitamin D for healthy skin,
A fistful of A to let life in.

What else could be wrong? He still looks slightly ill.
Just give him a fistful of nutritive pills.

Oh no! He’s convulsing! Somebody, please save him.
It must be something the doctor gave him.

REASONS YOU’RE A SHIT PARENT

My child says your child
Gets cookies every lunch.
My child says your child
Still drinks Hawaiian Punch.

My child says your child
Got vaxed for the flu;
My child agrees that your child
Simply won’t do.

He’s never known the luxury
Of kale chips salted light,
Or cupcakes made with free-trade flour.
How do you sleep at night?

A gender-neutral nursery
And carseats ’til they’re twelve:
Right-themed novels into which
A little mind can delve.

These are the things that make a child
As good as he can be:
A moralistic member
Of our great society.

You say love’s more important? What?
Sit down, shit mom, and can it.
Child-rearing ain’t about the child:
It’s all about saving the planet.

How to Critique Correctly

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How to Critique Correctly

At this point, as an indie writer, I’ve done some critique swaps and critique groups, and I’m going to be honest: nobody likes doing them. Constructive criticism is a necessary evil, and nobody likes receiving it or giving it. Doing it well takes time and effort, and you pretty much know you’re ruffling somebody’s feathers a little if you have a lot to say. And, of course, then there’s the end where YOUR feathers get ruffled: I feel like the emotions involved there pretty much need no introduction.

Here’s the thing, though: there are right ways and wrong ways to critique, and knowing how to do it right will serve you well. The members of your critique group are, after all, your allies–they’re not trying to hurt you, and you aren’t trying to hurt them. Handling your critiques carefully can save time AND animosity, and is a necessary skill in group editing situations.

1) The Compliment Sandwich

I learned this–and you’re going to laugh–at creative writing camp as a kid. Yes, they have creative writing camps. But, kid or not, it’s a very useful and painless strategy, and simple to employ:

Sandwich your criticism in between two breadslices of positive feedback, the first complimentary and the second constructive.

It’s that easy. For instance:

This was a great story, and I enjoyed your dialogue especially: it flows well, and you pass important information along with no stiffness or hesitation. However, you might want to back away from using so many emdashes: after a while, all the emdashes made it difficult to tell who was speaking. If you want characters to seem like they’re interrupting each other, emdashes are a good way of making it happen, but you might want to consider adding more speech tags to denote who’s who.

See how that worked?

You begin with an undisguised, unabashed compliment. Even if you’re NOT feeling it, do it. It’s just polite. You’d want others to do the same for you. (‘Why do I need to possibly lie to make some thin-skinned writer’s ego happy?’ some of you might ask. My answer: ‘is typing ‘that was a great story’ really so goddamned difficult? Are you betraying your core values that much? You don’t belong in a group critique.’)

Now, find a SPECIFIC thing you liked about this story. Compliment it honestly. Come on, there’s something.

After that, narrow down to your critique. ‘I really enjoyed your dialogue, BUT.’ Remember, as you critique, that you’re trying to be helpful here. State your problem specifically, and, if you can, offer a constructive solution. If you don’t have a solution for the problem, it’s best to mention it anyway: you can’t have all the answers, after all, but if you think it’s a problem then it probably is. (‘I don’t know how to tell you to fix this, but I really feel like Castor and Pollux sound out of character in the fifth chapter.’)

2) Consider the Writer.

An established writer, or, really, anyone who’s been doing this for a while, has a certain style. Consider, as you critique, whether or not your critique is style related. A writer who’s been writing short, terse sentences since 1978 probably isn’t going to expand into flowery page and a half long sentencegasms just because you advise it, and, furthermore, is probably going to get a little bit pissy over you suggesting they try.

Even if you think it’s an issue, basic style concerns aren’t going to change. Only comment on these if it directly affects the clarity or effectiveness of the story: for instance, if your page-and-a-half sentencer is writing a noir novel, it might be time to mention something.

3) Do YOU understand what’s going on?

Also: before you critique, please Jesus, make sure YOU understand what the author is saying. I’ve gotten a lot of critiques in my time from people who plainly only read the story once, and then not too carefully, and lemme tell you, I mostly just throw these out. The critique writer hasn’t made the effort to read my story, why should I read their critique?

A few years ago, someone criticized a story of mine pretty strongly because a girl was running, jumping, and climbing trees in a petticoated dress. This would have been absolutely fair criticism, if I hadn’t devoted the better part of a page to the girl changing her clothing early on in the story. Guess the critiquer just skipped around a little, eh?

A note: if you read the story carefully and still don’t get it, then yeah, the problem isn’t with you, and you need to mention it. You might not be the sort of person the story was written for, but, hell, any sort of person can read a story, and the author would probably like to know what makes sense to whom.

4) Watch your language.

Don’t curse at your writer friend, obviously. But, more specifically: choose the words in which you give your critique carefully. Avoid accusatory statements, such as ‘you didn’t —” or “you shouldn’t have —“. Actually, I’m tempted to tell you to avoid second person as a form of address altogether, except I don’t think that’s quite right, either: referring always to the writing and not to the writer can leave your critique sounding cold and impersonal, and besides, you know how it is. You insult a writer’s baby, you insult the writer anyway.

My final thought: try and employ second person more in the compliment parts of your critique than the negative parts. Just…try. It also helps to emply first person often: ‘I felt that —‘, ‘when reading the second chapter, I noticed–‘. I’m not sure why this is, maybe it just adds in a personal element, but it makes the medicine go down a little easier for me.

Long story short, avoid accusative statements, and loaded generalized words such as crazy, bad, mistake, stupid, lazy, etc. Comments that include these words aren’t constructive, and you can put in better feedback without using them. (For instance, instead of saying ‘first person was a poor choice for this story’, try saying ‘I think this character’s motives would be a lot clearer if the story was written in third person’. Not only is your point more concise and reasoned, but it comes across as a lot less negative).

5) Remember your goal.

Your goal in criticizing a story is NOT to tear someone down, or prove how great at giving advice you are, or just get through it so you can get your own critiques. Your goal is to HELP. It is to provide useful, directed advice that will, in your mind, make this story better. And, to that end, you want to be as clear as possible, without offending. After all, statements like ‘this story needs a lot of work’ don’t help anyone, do they? If it needs a lot of work, list the things that need to be done. As you’ve agreed to provide critique, this is quite literally your job.

Angry critiquers, who feel like this is ‘pussyfooting’, I would like you to note the things I have NOT asked you to do here:

1) Hide your opinion.
2) Lie, except in the most innocent general way.
3) Cover up your problems with the story (in fact, my method allows you to state them more completely).

The fact is, a proper critique should NEVER leave a writer with even an eighth inch of skin thinking their story is bad. (Yes, there are some super-sensitives out there. They don’t belong in group critiques, either).

How, you might ask, is this possible, if I have ten pages of negative critique to bestow?

My answer is, no critique should be downright negative. Constructive, yes. But not negative. It costs you very little to let the words ‘good story’ escape your lips, and it might make your ten pages of critique slide down a little easier. It might, even, be good for the story to compliment–a writer who doesn’t feel mortally offended is more likely to take your advice.

Next post, we’re going to do the version of this on accepting criticism with grace.

Yours,
E

Fantasy Worldbuilding: How-To

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Worldbuilding: Who, What, When, Where, How, and Why

I don’t talk about worldbuilding much on here. A lot of that is because I one hundred percent don’t believe in the traditional fantasy worldbuilding approach: I don’t think you need your whole lineage of kings written out, I don’t think you need a map, and I don’t think you need to pause and describe every landmark your characters pass. I think, if you do this, you’ve essentially written a travelogue for an imaginary place. And, trust me, I don’t even like to read travelogues about places I’m going.

What you need to do, instead, is flesh out your world. That sounds simple, right? Surprise, surprise: it’s not.

The first thing you need to do, when building your fantasy world, is consider this question: what constitutes ‘flesh’?

The ‘flesh’ of your built world is a series of details that perform a double purpose. ‘Fleshy’ details–the good, meaty stuff–do more than show the world around your characters as you picture it. In addition to showing, they also explain: for instance, if there’s a statue of four soldiers made up of lapis and granite at the gates of the city in which your main character lives, your MC has been passing those statues every time he goes into/out of town his whole life. What do they mean to him? Did he meet a girlfriend at the foot of the statues once a week for a whole summer, until her father found out? Do stonemasonry students from the city university attach expertly carved penises to them every Fool’s Day? Do your MC and his father bet every time on which statue will be gifted with the largest set of bait and tackle? (I told you these details were fleshy).

(A note, about ‘fleshy’ details: the very best ones are bombastic. They are memorable. If you’re just going to drone on about Ghern heir of Kern heir of Bernie, I’m not interested. Why should I be? I’m not a history major. Mention in passing, instead, the great rule of Ghern the Incontinent, followed by that of his son Kern the Bladderblaster. And why are we hearing about them, anyway? Is this story about bathroom humor? It better be. Otherwise, I don’t want to know at all).

The building blocks of your world aren’t just static things, to be removed and changed at your convenience. Gods, statues, customs, clothing–your characters interact with these things. They have opinions about them, inclinations towards or away from them, friends who have been helped by them, friends who have been hurt by them. Women disappointed in love might traditionally drown themselves in a river outside of the village called Talia’s Tears: do you think this would make people of the village less or more likely to draw water from that river?

Recapping: your characters live with this stuff. They don’t just hate the Empire or love the Empire, believe in the gods or not believe in them. People are more complicated than that. Even a character who believes firmly in the grace of Plougtagh the Magnificent is going to have his faith tested every once in a while. And why does he believe so firmly, anyway?

Which is going into my main bit here. Cliched as it sounds, if you want to worldbuild, you need to ask these grade school questions:

Who, what, when, where, how, and why.

Because your religion, your economy, and your lineage of kings don’t exist in separate vacuums. They’re shaped by one another–they build one another.

Let’s start with an idea I had the other day. I was reading some articles about freediving (which is, actually, fascinating) and came across some stuff about the Ama of Japan, women who dove as deep as thirty feet underwater with no gear whatsoever, in the early days. They were able to hold their breath for two minutes, and would often dive near-nude in below freezing water in search of pearls and food.

Badass, right?

I started to think to myself: what if I wrote a story about a freediver in a pre-mechanical era where the climate was extremely cold?

I started picturing it: a woman in a hand-stitched skin suit caulked up with some sort of pitch, probably, diving through a hole in the ice. She’d only have a small amount of time before the shock killed her, and how would she see, and who the hell is she anyway, so I had some questions, and where did I turn?

That’s right. Who, what, when, where, how, why.

I’m going to try and verbalize this process, just so you can get an idea of how to answer these questions yourself. Look at the way I do this–there are rules to the way I answer my own questions.

Who?

A young girl, obviously. Strong, agile, small, but probably with a good insulating layer of fat on her. She’d have to be trained to do this–by whom? There must be a lot of people doing it, if there’s training. It isn’t the sort of thing you just learn to do on your own, without great need.

So who are these divers? Are they some sort of archaic first responder, saving shipwreck victims? (Maybe there are fjords. Lots of wrecks around fjords). Are they diving for something valuable–a food item, or something worth a lot of money? (It would have to be expensive and/or a great delicacy. These dives obviously take up time and resources for this community). Or–maybe there’s a religious reason. Maybe their god is a grey whale, or something, and these girls leave him offerings (in which case, why THESE particular girls?).

What?

Let’s talk about this suit. This is a premechanical society, so it’s not a fancy manmade fabric. The best thing I can come up with is skin–leather of some sort. Now, they’re in the far north, so where does this skin come from? Maybe it comes from the same thing she’s diving for. I don’t know. Hell. But they’ve stitched it together somehow, so they’ve probably
pitched up the cracks, or put wax of some sort in them. How does she get into this suit, anyway? It isn’t like they have zippers. I guess she puts it on with buttons or eyehooks as fasteners, and someone else caulks that seam up.

Which means there’s more than one person involved in this dive. Well, I already knew that, she’s got to have a trainer. I’m starting to think this is an Ama-style dive for valuables more and more–it sure is taking up a lot of time. Maybe their economy is centered around whatever she finds underneath the ice.

When?

I’m picturing Vikings. Well, not exactly Vikings, but something Vikingesque–so these folks won’t have much in the way of technology yet. I’m picturing Dark Ages shit here. Honestly, I imagine this society is kind of isolated anyway, a la early Icelandic settlers in Greenland, so when doesn’t concern me too much yet. However,

Where?

Is a pretty big issue.

This isn’t civilized society, though there is some sort of society in place. I picture a cold and horrible place, a small village isolated from the rest of the country (maybe it’s a colony, or an outpost). Life’s obviously pretty hard here, which is what makes me think this girl of mine is diving for something of physical value: perhaps what she’s diving for is the only dependable food source for her people. (Which reminds me–there are all sorts of health complications possible with freediving. Do these girls usually die young? Do they do it of their own free will, even?) Maybe there’s a heat vent on the ocean floor, and the water’s warm enough to support life on the rocks just under the ice. Maybe she harvests some sort of scallop-y creature for her people to eat there.

I think it’s unlikely she’s diving for religious purposes, given this cold barren location I’m picturing. I imagine the gods don’t get that sort of sacrifice, when people are so hard up. And ships? There probably aren’t many. So it’s either food, or something they use to procure food. Though, if that’s the case, where the hell did she get the skins for the suit?

How?

Well, that’s the question, isn’t it? Maybe the women dive under the ice, while the men take boats out and hunt seals. Sealskin would be pretty good for that sort of thing, all the blubber and stuff. Though, god, that would mean the skin was uncured. She’d smell awful. Rancid blubber. Hell yes. I know I’m on the right track when there are smells involved.

And, as you might have noticed, all of this leads us to the most important question, the one you really want to answer.

Why?

Why, why, why would a small village exist in this location? Why would these people go to so much trouble just to get food, when they could move?

It’s not like the Icelandic settlers. Those guys thought they had a pretty good thing going, and then a mini ice age set in, and poof, time to die out or move. Why aren’t these people doing the same? They’ve obviously got a system worked out for living here. Why?

Well. If they have to stay there, they’re either exiles, or they’re trapped.

I like exiles. Maybe this is like a fantasy Siberia of sorts, where people guilty of some crime in the kingdom proper are sent to live out their days. In which case, why are they sent there? Was our girl sent there, or was she born to people already living there?

I like the idea of a long-ago banishment. Maybe these people took place in an uprising or a rebellion, a hundred years ago, and they and their descendents have been doomed to live in this awful (but probably very pretty) place for the rest of their days. But–oooooh, here we go, we like buts–maybe the new king is young and of a different kind. Maybe, though these people don’t know it yet, the political climate is ripe for their return.

And with that, we have a story. The action opens when a messenger comes from the capital city with news of the old king’s death, and the rule of the new king. It doesn’t mean much to them at the time–they’ve lived through a few kings–but the arrival of the messenger would be an event. They don’t get many events.

So they send their young girls diving, to get food for the feast. Scallopy creatures, seaweed, etc. The men are out hunting seals, hoping for a whale maybe. And when our girl dives, she finds something that might change the course of history for her people.

What does she find? I have no idea. But I’ll figure it out.

In the meantime, see how that works? Not far along at all, and I already know some things about these people. I know they’re resourceful, and tough, and hardy. I know that, at some point, they were rebels. They live in a place of stunning but inhospitable wonder, and they probably love it more than they hate it, since, after a hundred years of exile, they don’t know any other life.

And I know their king, or grand vizier or whatever he winds up being, is a decent guy.

Or maybe he just has a use for them.

Either way, progress has been made. We’ve got some sensory details, some answered questions. Now, to write.

Finishing NaNoWrimo: Last Thoughts

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Finishing NaNoWriMo

So I just, less than an hour ago, finished NaNoWriMo.

I wrote 50,076 words, at final count. I had to fluff a little to get the last bit out and make it 50,000 words. With how I write, this’ll some day turn into a 100,000 word novel, so I’m not too upset about it.

But I feel a little funny.

Y’see, after all that effort–after all that work–I’m not sure it was worth it.

I know. Betraying the cause, etc.

But here’s the thing. I’m a professional. (If I keep chanting that to myself, it’ll one day feel like it’s true). I’ve written over 50K in less than a month before, and it wasn’t during NaNo. So the wordcount honestly doesn’t mean much to me. I already had proof of my own productivity, long before I did this.

The hard truth of it is, I don’t know if this is a story I would have finished, if not for NaNoWriMo. And I don’t mean that in an ‘I would’ve fucked off because I never finish anything ever’ way.

I mean it in a ‘this was not my best story idea’ way. In the last 25K, it lacked inspiration.

Editing can cure a lot, but I don’t know if it can EVER cure a lack of inspiration.

There’s a lot of talk on writing blogs about inspiration not being a real thing, but I think, deep down in our hearts, we all know that isn’t true. Inspiration is what happens when you write the good stuff, and yes, some of your stuff is better than other bits of your stuff.

You can still write without inspiration. I think I just proved that for about 25K words. The question becomes: should you? Really–should you?

I’ll be honest, I usually pick up the pen whenever I have that ‘a-ha!’ moment. Whenever I’m sitting around, thinking about that scene I left my characters in, and I suddenly know what should happen next. This isn’t to say I’m not a productive writer–I’m plenty productive. I know how to force the in-between moments when they need to be forced. In addition to my NaNo novel this month, I wrote two 6K stories, about 5K worth of blog posts, and, oh, we’ll say about 10K on a beloved side project. I can make the numbers add up no problem.

But, in the end, I don’t think NaNo quite leaves you enough time for those ‘a-ha!’ moments. And, while I think being able to force out 50K in a month is a good exercise, and might help folks who have trouble with it with productivity, I don’t know that it’s the right way to go about things for me.

Creative writing isn’t about cranking about copy. That’s an element of it, sure–but it’s an element in the same way composition or perspective are elements in the artistic process. Is it important to understand these things, and be able to use them? Yes. Undoubtedly. You wouldn’t get very far without them.

But a simple understanding of perspective does not a masterpiece make. Like good writing, good art is extremely subjective–and illusive. Long story short, if you don’t think you’re going to paint a masterpiece, don’t stretch the goddamn canvas in the first place.

Because, trust me. If you can’t fool yourself into thinking you’ve got a masterpiece in you, you sure as hell won’t fool anybody else.

With the last half of this one, I haven’t fooled myself, and that is NOT a good sign.

So we’ll take our sad little NaNo novel, and we’ll let it rest for a month. And then, when the holidays are over, we’ll see if we can edit it into the story it should have been. More likely than not, it’ll have to be rewritten: but there’s the germ of a good story in there, and Rome wasn’t built in a day, etc. etc., aphorism aphorism.

So I won NaNo, but I don’t FEEL like I won. And all the chirpy little automated NaNo messages in my inbox–‘OMG u finished! Wow! We’re so proud of you for some reason!’–wind up ringing false.

I’m hard on myself, a little. But what I’ve done WASN’T an incredible thing, and writing isn’t about wordcount.
And that’s just how it is.

See you on Friday, kids. Happy Thanksgiving to my American followers.

Affordable Christmas Gifts for Writers

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A NOTE: There are a lot of links in the post. Mostly because, after writing it, I got curious if some of these things actually existed. Lo and behold! Internet magic! You can buy plot dice, an E.E. Cummings tshirt, AND a stupidly expensive fountain pen all in one fell swoop! I don’t necessarily encourage you to buy these things–hell, it’s me, I encourage you to buy as little as possible. Links are included fo’ yo’ edification.

Affordable Christmas Gifts for Writers

We’re coming up on Christmas.

I know, I know. It doesn’t feel like it. But the Santa Seepage has already begun–the craft stores have Christmas endcaps, and Target has its oblique we-know-it’s-not-time-for-this-yet-but-buy-stuff back Christmas wall up, lurking like a hungry red and green shadow behind the current commercialized holiday section, Thanksgiving. For those of us who work retail, the nightmare has already begun. I’m basically getting this post over with early, as resident Grinch.

For those of you who DON’T work retail, and therefore like Christmas, you can start humming ‘Jingle Bell Rock’ under your breath. What’re those lyrics, again? Does anybody actually know the lyrics to Jingle Bell Rock?

Anyway.

I see ‘Christmas lists for writers’ a lot online, but y’know what? A lot of times, they’re things like t-shirts with ‘I’m a Writer’ written on them, which is pretty much useless in the art of writing, except possibly to blot your blood, sweat, and tears on (or, alternatively: if you hit your head pretty hard on something, and forget who wrote all those half-finished stories on your laptop). Or, it has the Hemingwrite on it. Because gadgets. I mean, who doesn’t like expensive gadgets? Who doesn’t like to buy them? Everybody has the money for a twenty dollar coffee mug and a Hemingwrite.

So I wanted to take a minute and give you guys a useful (and, hopefully, slightly more affordable) list of things you can get your pet writer. Here we go:

1) A Coupon Book.

Broke this year? Saving all your money to buy Granny that five-speed blender? It happens, buddy. And, when it happens, the homemade coupon books appear.

However, for your writer, you might want to consider going above and beyond the standard free back rubs and Netflix n’ chill night ideas. Here are a few authorial coupon concepts for you:

1) One FREE night of you telling me all about your novel. I’ll ask questions. I’ll get into it.
2) One FREE night of locking yourself up in your room to write. I will not ask you why dinner isn’t ready. I will not ask you why you aren’t keeping me company.
3) One FREE dinner left obliquely by the door of your room while you’re writing. I won’t complain about making it. I won’t ask you to join me at the table. I know you’re writing.
4) One FREE read-aloud. Read me your story!
5) One FREE accompaniment to the convention/signing of your choice. I’ll stand there next to you and be super supportive, even if I don’t know what’s going on and I had to take the day off work.

2) Services Rendered.

No, not sexual services. You dog, you.

Do you have a skill that might help your writer buddy out? Are you a graphic designer, a photographer, an editor, have a job in marketing, etc? (Even if you’re none of these things, you could always be a beta reader).

If your writer buddy is trying to self publish, or publish through a small indie press, he or she could probably use some help, and they may have been too shy (or too introverted, whatever the popular term du jour is) to ask. So this Christmas, if you’re broke but want to still make somebody smile, offer aid.

3) Kindle Unlimited

Does your writer read a lot? If he or she doesn’t–are you sure he or she is still alive? Poke this person a few times with a stick. Whisper the words ‘Fifty Shades or Grey’ or ‘E.L. James’. If this doesn’t provoke a strong reaction of some variety, your writer friend has passed on, and your Christmas gift should probably be a mourning bouquet and help with the burial.

If your writer friend is still alive and vociferous about Shades, you might want to consider a Kindle Unlimited subscription. KU is a great program on Amazon by which certain ebooks (a lot of solid bestsellers among them) can be ‘borrowed’ for a month. It gives your Kindle-possessing writer the chance to read whatever kind of books, and as many of them, as they please.

A note: Amazon now has a reading app for all smart devices. So, yeah, your writer doesn’t even need to have a Kindle for this one, though it is recommended.

4) Supplies.

Writing isn’t a profession that requires a lot of stuff. You don’t need a two hundred dollar leatherbound notebook to write. You don’t need a pricey fountain pen. And, honestly, if a lot of us had these things, we wouldn’t use them, or probably look at them ever. (PS–if you haven’t reached your ‘humanity is ridiculous’ quota for the day yet, check out that fountain pen link).

But your writer does use something to write. Moleskine notebooks? A tablet? A laptop? You can buy a passel of Moleskines for pretty cheap. A keyboard case for a tablet. Long story short, if you want to buy your writer an actual writing related item, make sure it’s something this person will use. I’d recommend staying away from plot dice and Hemingwrites and clever t-shirts with E.E Cummings jokes on them: these items are more or less useless (unless, of course, your writer has expressed a desire for one of them. For instance, no E.E. Cummings t-shirt for me, but I’d love something with a quote or two on it from A Confederacy of Dunces. Or this Henry Miller Library poster: ohmigod, I don’t think I’ve ever laughed so hard in my life. I get what they were going for, artsy bastards, but this has to be one of the FUNNIEST accidental truisms ever manufactured about Henry Miller. Look, the gal in the picture is even asleep). 

5) Support.

Did I mention love and encouragement? No? Well, they’re cheap, and in the end they’re the best gift you can give anybody.

Note, I’m not suggesting you give your writer a Christmas card with ‘You Get My Love For Christmas!’ scrawled on it in Sharpie. That’s kind of an asshole move, man. At least make a coupon book, or something. But, nevertheless:

Self and small press publishing is pretty horrible. It’s difficult to build a following, difficult to keep a following once you’ve built it, and almost impossible to make money (at least, in the golden way your writer dreamed of before actually self-publishing). So the best gift, and the best way to keep up the spirit of the season? Be there. Be supportive, be a fan, be a friend. Like stuff on social media. Leave a glowing review of your writerbuddy’s book on Amazon. Help out. For all you know, you might be helping somebody keep their dreams alive.

6) Money.

You have enough to give it to other people? Oh, man. What’s that like?

If you do, money is pretty much appreciated across the board by everybody. And, for your writer buddy, it might be your best option, if they haven’t given you any hints on what else to buy. Money’s such a cheap gift, you say? Really? It’s worth exactly what it’s worth. How the hell can it be ‘cheap’?

Sorry, that expression’s always bothered me. Anyway. Money can buy a writer advertising, listings, a five pound sack of gummy bears. Whatever this writer needs–which is something you might not necessarily know.

Or, if you just can’t bear to be that awesome friend or relative who just gives out money: does this writer go out to a certain coffee shop frequently? Perhaps a gift certificate to that coffee shop. Is there a conference he or she wants to attend out of town? Plane tickets, or a gift certificate to a really good restaurant you know there. Just published a book? A gift certificate for framing, maybe, so that book can go up on the wall where it belongs. An Amazon gift certificate is always awesome, too.

Long story short, give your pet writer a gift just like you’d give a gift to anyone. Listen to that person. What do they say they want? That’s. Um. Probably what you should give them. People don’t usually lie about that stuff.

Last words: just because someone makes a percentage of their income from writing doesn’t mean you have to give them a writing related gift. Maybe what your writer friend really wants is Granny’s five speed blender. In which case: skip the glittery pens and get this person a blender. After all, do you get your architect friends a t-shirt with ‘I’m an Architect’ on it?

See, kids? It ain’t half hard, nor does it have to cost you an arm and a leg.

What’s Up With Me, III

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Sooo. I’m writing a brief post, basically just to tell you I’m not posting today. Why? Because I have SO MUCH on my plate right now. So very. Fricking. Much.

I’ll be back with you on Friday, when I’ll hopefully be done with my NaNo Novel–we’re at about 43,000 words right now, so the end is in sight, if I don’t run out of steam before I get there (highly likely. I’ve always been bad at finishing things). Once I do that, I have an anthology story to finalize, and another to start (luckily, with no crunch, but I know me and I know I need to start it now). I also need to get Little Bird out–I know, I know! I’ve been dragging ass on that one for a while now. I’m also trying to crank out enough blog posts to keep this blog going during the month of December, when I usually spend every spare moment I DON’T spend sleeping at work.

I’ve also got Thanksgiving to think of, and a house to clean for friends coming over, and all the stuff everybody else has to do. I feel like if I can just push for two days or so, I can get the most pressing stuff (NaNo, anthology story) out of the way.

So, long story short, regular programming can’t be regular today. Sorry, folks. I just need a little bit of time to get my stuff done.

Xoxo,
E