How to Eat an Elephant?

Please excuse me for getting a little personal here- I'm working on some posts about flashbacks and pacing and a brilliant post about how I got my agent...I'll let you know as soon as I work out the details on that one! But for now, a bit about writing and how being a Sunday school teacher gave me a little push.

I started writing a few years ago as a result of being a teacher in the Young Women's organization at church. The girls, 12-17 years old, all participate in "Personal Progress," a program with hundreds of activities designed to develop different virtues. These activities could be anything from reading the scriptures daily and recording what they learn to learning a new skill.

In addition, the girls are required to complete a ten-hour project for each of these virtues, and I'd often ask the girls about their progress. As a teacher, I was encouraged to work on my personal progress alongside the girls, and that was why, when an idea flashed through my brain, I picked up a pen and wrote it down. I already had the goal in place and the time had come to act on it.

Two years after beginning to write in earnest, and four years from that first sketch, I realize that my little idea has taken slightly more than ten hours to develop!

It can be done, and here are some things that have helped me.

• Track your progress. Whether you use a star chart or a marker on your bathroom mirror, write down your goals and what you do each day to meet that goal. It doesn't have to be number of words- that only worked for me for the first draft, but perhaps an amount of focused time? Perhaps it will be to mark up so many pages a day with tiny scribbles that seem perfectly legible until you try to decipher them a week later.
• You can write a paragraph in five minutes, and eventually you'll fill a book. It adds up. So don't waste your spare moments. Sometimes they're all we get.
• Eliminate the junk. I don't mean that you can't allow yourself to enjoy some leisure time- even TV can can be a nice break- but if you want to write, you have to give yourself the gift of time to write.
• Don't get upset if you mess up. Start again. Say it with me: Today is the first day of the rest of my life!

How do you stay focused on your goals, whether writing-related or not?

I hope that you all have had a wonderful 2010, that this coming year will find you well and happy. Enjoy this video--it got me a little pumped!


Glutton for Punishment?

Sane, Who Me?

It's that special time of year when we put on some weight, freak out because the scotch tape roll was full yesterday and now everyone is running around with their noses taped to their foreheads and there'll never be enough to wrap these presents, and I just set down the scissors, where did they go?...No! Don't unwrap the presents yet! (true story)

It's been very interesting around my house, and I'm sure things are a little hectic for you, too. That's life, right?

My main defense against stress is to stop doing stuff. I resist *most* attempts to get my kids into extracurricular activites. Good luck to my husband in getting me to the store for a new can of shaving gel if we still have toilet paper.

But we can't not decorate the house for Christmas, or skip our church Christmas party. We spend hours and mind-numbing hours making a present list and shopping, then wrapping all of those items. I feel every one of those minutes. It irks me if I don't make a certain amount of progress every week on the book. I don't mean to be irked, but I am.

Here's the thing I have to remember: It's not all about me. It's about my family, it's about reconnecting with friends and taking the time to show people that they are important. Again, because sometimes I'm incredibly focused on what I want to accomplish: It's not about me.

I should get this since I'm all about quality time (Have you guys all read "The Five Love Languages"? I think that's the most widely read relationship book ever. Great read, btw.)

Some days I feel so grinchy that hubby starts singing the Grinch song to me, and I deserve it, i.e.- I griped about having to put out stockings. So, in order to be a nice, happy person during the holidays, I have set some modest goals.

Kelly's Modest Goals:
1. Do not lose your book. (I warned you they were modest!)

2. No querying in December. Better yet, wait until Jan 15th, after the rush of "New Year's Resolution" queries.

3. Cut back on the internet and use that time to write. Sorry guys. If I have to choose between checking facebook or using that time to get through a few pages today, I have to get a small amount of writing done.

4. Say "no" to some activities. I don't like to say no, but it's good idea.

That's it. No pages per day, no waking up at five for me right now. I tried that on Monday and Tuesday, and after the third snooze alarm, my hubby was not full of Yuletide cheer, so I turned the alarm off.

How do you keep writing during the busiest season of the year?
Glutton for Punishment?

Raising the Stakes...

...Before Driving Them Home in the Breast of Boredom.

He was dying from boredom. It's better this way.

I always have a book on the table while I eat. My kids think it's unfair because I won't let them read while they eat, but they are much more likely to have a spill, so it's just too bad for them.

This morning that book was Story, by Robert McKee. Easily the best book about how to engage an audience that I've ever read. I'm reviewing conflict and act design.

Here're a few tidbits-

Here's a simple test to apply to any story. Ask: What is the risk? What does the protagonist stand to lose if he does not get what he wants? More specifically, what's the worst thing that will happen to the protagonist if he does not achieve his desire?

If this question cannot be answered in a compelling way, the story is misconceived at its core. For example, if the answer is: "Should the protagonist fail, life would go back to normal," this story is not worthy of telling.  

Ouch. Not worthy of telling. Sound like any memoires you've read? I kid, memoire-writers. Or is this one of those jokes that reveals my true feelings?

Okay, let's take this concept down to the scene level. In a particular scene, what happens if your protagonist fails? If it's a return to real life, that's a problem, too. There are building scenes where the conflict is increasing without coming to a conclusion, sure, but there must be risk for the protagonist. There must be stakes, and they must be high.

A crit partner told me that's what her agent commented to her over and over in her edits: Raise the stakes.

In behavioral psychology, there's this term for increasingly desperate behavior called an extinction burst. We all do it. You put a few quarters in the vending machine, press the button. Your drink doesn't come out. You press the button again, a little more firmly. When you press the return change button, it's the same. Nothing. You lift the door, maybe the drink was released and somehow you didn't notice the loud thump as the can landed in the trough, but there's nothing there. So you press the button again, ten times real fast, each time getting harder. Maybe you're a little mad now. You hit the side of the machine, sure that somehow this will work.

In a lot of novels, the protagonist is operating in this way: trying with increasing desperation to get the Coke out of the machine. They would never just walk up to the machine and punch it, but because they are blocked over and over again, they are willing to try just a little bit harder, then a little more, hoping that it will finally work.

Incidentally, giving in when a child is in the midst of an extinction burst is the best way to teach them that desperate behavior works. It sets you up for years of buying candy in the checkout line at the grocery. So don't give in when kids are kicking and screaming. They are so close to giving up and getting on with their lives. That makes for a boring novel, though. In writing, we want to increase desperation.

Here's one more quote from Story:

A story must not retreat to actions of lesser quality or magnitude, but move progressively forward to a final action beyond which the audience cannot imagine another.  

You can't have your protagonist discover a baseball bat, and walk toward the Coke machine at the end of the chapter, then have them find 75 cents in their pocket at the opening of the next chapter. Wouldn't they have checked their pockets for more change before they considered destroying the machine? Raise the stakes, one step at a time. Lead the character to the climax, where they will do something they never could have seen coming on page one.

I hope you all had an amazing Thanksgiving. I love having a few days off to be with the family and revel in all of my blessings. Happy Writing!
Glutton for Punishment?

What'd Ya Do That For?

In a previous life, I worked as a behavior specialist. Basically, I would teach parents or caregivers how to encourage better behavior from children and adults with developmental disabilities. Think Supernanny, without the accent.

One of the most important things to changing someone's behavior is to understand why they're doing it. There are five categories of motivation to pick from (I refreshed myself on these on the wiki page for "Behavior Modification, functional analysis. Check it out if you want to learn more.) They are:

Access to Attention
Access to Escape
Access to Automatic Reinforcement
Access to Intangibles
Sensory

I'm going to use head banging (actual hitting of one's head on another surface, not the "dance!") as a typical behavior I've worked with. Then I'll give examples from Harry Potter and the Order of the Phoenix of these same motivations at work.

Access to Attention- Child hits his head on the desk, the teacher comes over, rubs his back. She might ask him please not to do that, warn him that he'll hurt himself, etc. but everything she does/says is giving the child what he wants: attention. (The proper response here is to ignore the behavior.)

Access to Escape- Worksheet gets distributed. Child hits head on desk, maybe even hard enough to start bleeding. The teacher reacts by sending the child to the nurse. The child escapes having to do the worksheet. (A better way to deal would to have the nurse come to the classroom, and to establish a reward program for completing work.)

Access to Automatic Reinforcement- There is a substitute teacher. The child is nervous because of the change in routine and bangs their head on the table to relese this tension. (The best way to do this is to avoid stressful situations, and to give the child a constructive outlet when stress occurs. Having a pillow or stress ball to squeeze would provide a better way to release stress.)
Access to Tangibles- The child bangs their head, and the teacher brings them an ice pack. The child now has what they wanted: an icepack. This is a simple one to stop: don't give the child what they want. The behavior may increase for a time, but once the child is sure that their behavior isn't working, the headbanging will stop. This is why I never ever ever buy whiny kids candy in the checkout line.

Sensory- Child hits head on the desk because he likes the way it feels. Maybe he has a headache, or maybe it's just a strong sensation. Once medical reasons are ruled out, the best way to deal with this is to interrupt the sensation. If the head banging is severe, the child may need to wear a helmet. Maybe it would be better for the child to sit in a bean bag chair or otherwise make the environment unfriendly to head banging. This is, in my opinion, the hardest type of behavior to stop.

Okay, let's look at Harry Potter. I picked this book because most of you have read it, and the movie comes out this week. Yay! (Unfortunately for me, I'll have to wait a week to see it because Nathan is having his hernia repaired on Friday and won't be up to going to the theater for a few days. He claims that it would be desertion if I went without him. And he won't go to the midnight showing on Thursday, even though he's just going to be in surgery and sleeping all Friday. Sometimes I just don't understand him, lol)

Okay, back to Harry and his varied motivations: 

Access to Attention- This is the one that Harry is least likely to do, since he gets plenty of attention just for being the Boy Who Lived, but there are times when he wants attention from his friends. His tantrums in the beginning of the book about having been left alone all summer would be such a time.
 
Access to Escape-Harry says he's feeling ill so he can leave class and take Hedgwig to the infirmary. All of those Skiving Snackboxes Fred and George make are helpful to students motivated to escape class. Harry doesn't continue with Occlumency lessons even thought everyone around him tells him he should because his motivation to escape Snape is so strong.
 
Access to Automatic Reinforcement- At the end of the book, Sirius has died, and Harry is raging at Dumbledore. Harry is not seeking attention, he is releasing stress. Incidentally, Dumbledore handles it just as he should- calmly, without yelling back. Dumbledore remains the adult. Good job, Dumbledore! I think this would also be why Harry has a "thing about saving people." It's a reaction to who he is and not a sensory motivation.
 
Access to Tangibles- Harry does all kinds of things to get things he wants. He enters the Great Hall at the appropriate time so he can get food. He does homework so he can get decent grades and maybe become an auror some day. Note that "behavior" does NOT mean "bad behavior." The behaviors can be good or bad. 
 
Sensory- Harry has some pretty nasty headaches in this book, and he's always rubbing his head afterward. Kissing Cho has a sensory motivation, as does riding a broom. Avoiding Stinksap also has a sensory motivation.    

The important thing is that there are 5 basic motivations to behavior. You can also count NOT doing something as a behavior, for instance, Harry and Ron often don't do their homework because they want to pratice quidditch. If Hermione really wanted to make them study, she wouldn't give them planners, she'd take away their brooms!

This isn't the only way to look at character motivations, but perhaps it will add a layer as you think about what your characters are doing and why. Anybody have any idea what motivates Voldemort?

And I forgot to link to this fantastic article on pacing and dialogue last week. My friend Teresa Frohock picked the brain of Lisa Mannetti, winner of the 2008 Bram Stoker Award for her novel "The Gentling Box." The book trailer is on there, and it's way too scary for me, but Teresa says it is amazing!

Happy Writing!
Glutton for Punishment?

Pacing in "The Hunger Games"

Each chapter has a story arc. You've heard that, right? In view of some comments about pacing in my own writing, I did some studying in The Hunger Games. Look at these chapter endings-

Me in red and my sister and some of our kiddoes hanging off a cliff. Get it?

Ch 1- Effie trinket crosses back to the podium, smoothes the slip of paper, and reads out the name in a clear voice. And it's not me.
It's Primrose Everdeen.

Ch. 2- Peeta looks me right in the eye and gives my hand what I think is meant to be a reassuring squeeze. Maybe it's just a nervous spasm. We turn back to face the crowd as the anthem of Panem plays. Oh, well, I think. There will be twenty-four of us. Odds are that someone else will kill him before I do.

Of course, the odds have not been very dependable of late.

Ch. 3- Just then, Haymitch staggers into the compartment. "I miss supper?" he says is a slurred voice. Then he vomits all over the expensive carpet and falls in the mess.
"So laugh away!" says Effie Trinket. She hops in her pointy shoes around the pool of vomit and flees the room.

Ch. 4- All of the pieces are still fitting together, but I sense he has a  plan forming. He hasn't accepted his death. He is already fighting hard to stay alive. Which also means that kind Peeta Mellark, the boy who gave me bread, is fighting hard to kill me.

Ch. 5- Peeta is planning to kill you, I remind myself. He is luring you in to make you easy prey. The more likeable he is, the more deadly he is.
But because two can play this game, I stand on tiptoe and kiss his cheek. Right on his bruise.

Ch. 6- I pull the covers up over my head as if this will protect me from the redheaded girl who can't speak. But I can feel her eyes staring at me, piercing through the walls and doors and bedding.
I wonder if she'll enjoy watching me die.

Ch. 7- the arrow skewers the apple in the pig's mouth and pins it to the wall behind it. Everyone stares at me in disbelief.
"Thank you for your consideration," I say. Then I give a slight bow and walk straight toward the exit without being dismissed.

Okay, is that enough to get an idea of what she does?

My big breakthrough came when I realized that if I were writing THG, my chapters would have kept going. On. And ON. Primrose's name is called? I wouldn't have started a new chapter. I would have made that whole scene, with Katniss climbing the stairs and Effie congratulating them one continuous scene.

Suzanne Collins doesn't follow the classic story arc inside her chapters. She is continually cutting us off right at the climax. Then the next chapter finishes the scene up, if necessary, or if the reader can easily guess what will happen, she starts at the next scene.

Her chapters tend to be briefer than I go, also: 17, 12, 13,12, etc. Low teens, not low twenties.

I was giddy as I read through and figured it out. I promptly printed the last page of each chapter with the plan to find those high tension moments and insert a page break! Except the moments weren't there. They were back a page or two...or five.

Sometimes I found that the end of the scene was necessary and kept it. Other times, it was just me trying to wrap up all my loose ends. Which is exactly what I don't want to do! Delete! Delete! Delete!

No loose ends=no tension. No reading on to find out what happens next.

I'm not suggesting that we all have to structure our chapters that way; every story is different. But Suzanne Collins knows how to keep the reader turning pages, and I found it helpful. I hope you do too!

Any other tips on pacing? Any other authors to check out? Thanks for reading.

PS- My kitchen is now pistachio pudding green, and the foyer will soon be a buttercream. I love it. Plus the two hundred bulb I bought are in the ground. Yay!
Glutton for Punishment?

Opportunity Knocks

Three years ago, Nathan and I moved to South Carolina, intending to stay with the in-laws for a few months while we saved some money and looked for a new house. We'd spent the previous five years fixing up a 90-year-old Victorian, and I was always too busy during my few free hours, caulking and tiling and wielding my prybar. So when we sold the house, I lost a huge piece of who I'd been, Kelly the Remodeler, but I chose to look at it as an opportunity to try something new. 

This picture has nothing to do with anything.
No, wait. I can do this...Ummm...Okay. Here goes.
I like taking pictures of unusual churches,
but I don't have time to pursue photgraphy, either.
It's about choices.

And it was nice. Weekends weren't inevitably full of project after project, and with 3 out of 4 kids in school, plus a few days of preschool co-op, I had more free time than I'd had since pre-kiddoes. By far. I wrote a lot. I read a lot, too. It was heavenly. 

Alas, we are homeowners once more;)

I'm excited to be picking out paint colors and curtains again, but I will miss the closeness we've had with Nathan's dad and stepmom. My youngest has no memory of life without in-house grandparents, so once they close on their house and move out, nuclear family life will be totally new to him. It's definately bittersweet.

I've already cut back on my blogging and internet time, but I'll probably cut back to one post a week, instead of closer to two. I'll still be checking in with you guys, but I may not be on here every day. There literally aren't enough hours in the day, and I am a terrible person when I'm tired. Really grouchy, and prone to crying, and I don't want to be that mean mom.

Though I enjoy writing even more than I did three years ago, I've been able to pull back from being obsessed by the book to being preoccupied with it. There's a fine line there, but on this side, my kids don't ask me why we don't go anyplace fun anymore. And the neighbors don't wonder why no one ever leaves that house. Is it haunted?

I have a paintbrush in hand once more. Left hand, that is. Right hand is holding a pen.

Any tips on achieving balance? On loving the life you have instead of wishing for change? Did anybody else have a special opportunity to follow a "one day I'll..."-dream, as I did?
Glutton for Punishment?

Manifest by Artist Arthur and Tutored by Allison Whittenberg

So the way Around the World ARC tours works, you read a book blurb, and if it sounds interesting, you ask to be put on the list, and some time in the future you receive it in the mail. You have a week to read it and send it on, and then another week to review it.

I'm so late with these two. I received three books in one week, and while it was no problem reading them, I really liked "Girl Parts" and it was hard to muster enough enthusiam to review these. So this post is not a strict review, more my thoughts on great vs. okay books.

Coincidentally, both "Tutored" and "Manifest" are by African-American authors, a group that is under-represented, shall we say, in bookstores. I don't select books based on race, in fact some of my favorite books are by people of African descent. Errrr, does that sound cliche?

Well, it's true, so there.

Alan Patton, for instance. "Cry The Beloved Country" is an amazing-
What's that? He's white? Seriously?

*Checks wiki* Holy crap. So he is. Still, he was born in Africa...

All joking aside, Ralph Ellison's Invisible Man changed me. As a high school student, I fell in love with the writing, with the struggle to be seen. I still love that book.

Maya Angelou was and is a huge inspiration to me, many of her books broadened my vision of the world. I identified with her characters and felt that she understood people- of all colors- so deeply.

I haven't read much lighter fare from African-American authors. Perhaps there's some kind of reverse discrimination going on behind closed doors in my head, like I expected them to be more than they were, but both these books disappointed me.

I'll give my summary of both books, and then explain what felt off to me. I add, they were decent books. For someone else they might be awesome books, but for me, the connection was shaky.

"Manifest" is about a girl named Krystal who sees dead people. She moves from The City to a small town, and gets sucked into solving the mystery of a young man's death by his hawt ghost. She has no interest in the cute living boy that likes her, since she's got a HUGE chip on her shoulder. But Ricky's ghost claims that he was murdered when he discovered who killed his girlfriend, and soon Krystal begins to wonder if the same person isn't after her.

"Tutored" is about a young woman, Wendy, whose father escaped the inner-city and is determined that his daughter not fall back in. Wendy is tired of being the "only chip in the cookie" and starts volunteering at a community center. She tutors a young man, Hakiam, who has just moved to Philly and is trying to get a fresh start. But with little family support and no education, Hakiam sees little choice but to steal if he wants to eat. As Hakiam and Wendy get to know each other, they find they have more in common than they could have imagined.

Both of these books had some good moments, and I didn't feel it was a total waste to read them. But they weren't amazing. I didn't believe that a good girl like Wendy would get involved with Hakiam. The leap from reluctant study sessions to boyfriend/girlfriend was too great. And when Wendy takes Hakiam to a "white" party, and everyone is drunk and stoned, that was presented as a positive (Hakiam says "White people are all right" or something close to that.), while the same situation in the ghetto was presented as a huge negative(although the situation was different since Hakiam's cousin had a small baby present). Still, to find common ground in drugs is not my idea of a bridge between cultures.

In "Tutored",I never quite believed that Krystal was as angry as she was presented. It just wasn't backed up in her history. Like, what teenage girl isn't going to be a little flattered when a cute guy keeps stopping by her locker to talk to her? Yeah. I can't think of any either.

I also felt that both of these authors accepted violence as part of life in a way that I am not comfortable with. Hakiam has several scenes where he is tempted to steal someone's purse, and when he and Wendy talk about that, her reasons for not stealing fall flat. How about "it's wrong?" To the best of my memory, she only says it's inconvenient to the other person. It's a whole lot more than that. Likewise, in Manifest, Ricky ran with a rough crowd, and his girlfriend was involved in "sexting" someone else. He had the attitude that it's her decision and unrelated to him. That did not work for me. I didn't buy his attitude.

The magic of Ralph Ellison was that he made us live through another's eyes, and I never got anywhere close
to that with these books. They were okay.
 
Glutton for Punishment?