Tag Archives: writing

Professional Wednesday: With Special Guest, E.C. Ambrose!

Today, I am delighted to welcome to the blog my dear friend, E.C. Ambrose (a.k.a. Elaine Isaak). Elaine and I have known each other for a long time, and she is one of the truly good people in this business. She is incredibly smart, funny, and deeply passionate about writing and our genre.

Her newest book, DRAKEMASTER, comes out from Guard Bridge Books on April 14!


Two Books with One Stone

by E. C. Ambrose

Drakemaster, by E.C. AmbroseOne of the great delights of writing historical fiction is the opportunity to leap into research and go bouncing off into every conceivable rabbit hole—er, to do a deep dive into a specific time, place or topic which will provide the backdrop for the story you have in mind. Unless you’re already a historical specialist in that area, doing the research is likely to consume a lot of time, attention, and other resources.

My approach to developing a novel idea tends to be pretty methodical. Sometimes, I trip across an engaging fact or historical moment that I want to explore and I’m able to use that as an immediate jumping off point for the more detailed research. Other times, I have a general enthusiasm for a topic that could be mined for fictional potential. Mostly what I’m looking for is moments of cultural instability, ideally with multiple cultures interacting, and rich layers of conflict that can propel a plot as well as inform character.

The genesis of DRAKEMASTER, my new historical fantasy novel, arose from my fascination with Mongolian history and culture, alongside an interest in early clockworks. The first gave me a general region I wanted to explore, but it was the second that allowed me to pinpoint exactly where and when the book would be set. Central Asia is a region both vast in scale, and deep in scope, so it would be easy to get lost in all of those aforementioned rabbit holes.

When I came across a reference in one of my early technology books to “the vermillion pens of the ladies’ secretarial” I had found my particular niche. The footnote refers to the court recorders of Song Dynasty China writing down very detailed horoscopes for imperial children, in order to determine who was most fit to succeed the emperor.

These horoscopes depended on a highly accurate astronomical clock built in Kaifeng around 1090 CE by the polymath known to us as Su Song. Kaifeng, the capital of the Northern Song Dynasty, fell to the Mongols during their southward sweep, but rebelled against the Khan in 1257. Conflicts aplenty! I had my very specific place and time to write into.

By this point in my research process, I had amassed quite a heap of books and references. It seemed sad to use all of that information to craft only the single book, even if it might grow into a series. What to do? The answer was to spin out the same body of research into a completely different book, one that would aim at a different market rather than compete with the fantasy novel.

In addition to my love of fantasy and science fiction, I also adore a good adventure novel, the kind that solves a puzzle which may span centuries and a thousand miles to uncover something extraordinary. I took what I had learned about Mongolian history, and in particular, the landscape-oriented tradition of Khoomei throat singing, and used it to envision a musical map created a long time ago, which would lead a contemporary team on a thrilling chase to locate a great prize, one of the greatest tombs never found: that of Genghis Khan. This project became The Mongol’s Coffin, the first of my Bone Guard archaeological adventure novels.

What’s the takeaway for the would-be historically inspired writer?

First, diligent pursuit of the specific. Rather than be overwhelmed by the sweep of history, or consumed by the “great men” who tend to dominate, look for the telling detail that might serve as the jumping off point for a different view.

Second, find an organizational system that works for you. You’ll need to return to this well throughout the project(s) so marking pages, keeping a bibliography, and making detailed notes about the stuff that most excites you will give you a good start. I am a spreadsheet fan, so I make a timeline for the period of the book and fill in all I can find, then have additional worksheets to cover specific topics.

Third, let your pre-writing brain go wild with the nuggets you discover. Extrapolate what they imply about conflict and character. For a fantasy, look for the gaps that might suggest magic or other fantastical elements. Don’t stop when you have one compelling idea for a book—see if there might be another book or two lurking just behind.

And above all, happy writing!

*****

E. C. Ambrose writes adventure novels inspired by research subjects like medieval surgery, ancient clockworks, and Byzantine mechanical wonders.  Published works include DRAKEMASTER (2022), the Dark Apostle Series, and the Bone Guard archaeological thrillers. Her next adventure will be an interactive superhero novel, Skystrike: Wings of Justice, for Choice of Games.

Learn more about the work of E. C. Ambrose on the author’s website

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Professional Wednesday: I’m Stuck

My muse, on the other hand, is a peripatetic tramp who can’t be counted on to show up at any given time on any given day. If I had to wait for that bastard to show in order to write something, I’d still be working on my first novel.

I feel stuck. Have for a while now. It’s nothing too alarming; I’ve been here before. But it is frustrating, and I am ready — past ready — to be, well, unstuck.

I’ve been doing a lot of editing recently, and I enjoy that. It keeps my mind busy. It forces me to think creatively, to consider my craft while also making certain to respect the vision and voice of my client. But it’s not the same as writing.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)And when it comes to writing, I am in something of a rut. The last novel-length piece I wrote beginning to end was Invasives, the second Radiants book, which I completed (the first draft at least) eleven months ago. Eleven months!

I’ve written some short fiction since then. A Thieftaker story, a story for the Silence in the City anthology. I had to revise and polish Invasives, and I have done work on the new Celtic series I’ve recently sold. But the first two of those books were already written. I’ve been revising those, too. I’ve started book 3, but only just.

Noir, edited by David B. Coe and John Zakour, an anthology from Zombies Need BrainsMostly, as I say, I’ve been editing. My work. Other people’s work. The Noir anthology. I’ve been plenty busy, but I have not been as productive creatively as I would like. And I wonder if this is because of all the emotional pressure we (my family and I) have been under over the past year-plus.

Recently, I wrote a couple of what you might call audition chapters for a project I cannot talk about. (There was actually an NDA. I really can’t talk about it.) And I enjoyed that process. I had a tight deadline, a quick turnaround from when I got the information on what I needed to write to when the chapters were due. I met the deadline with ease, and was pleased with the results.

As I say, I’ve been here before. I’m not worried that I’ll never write again. At least not too worried.

I wonder, though, if there is a lesson in that experience with the sample chapters. Maybe what I need is a deadline, one that’s hard and fast and not too far away. Maybe I need that sort of kick in the pants to get going again. I’ve long said that when I go too long without writing, I get cranky.

Well, I’m cranky.

I don’t know if I’ll get the gig I auditioned for. I’m certainly not counting on it. But if I don’t, I need to make myself work on something else. According to the contract, that third Celtic book isn’t due for a long time, but I am thinking I should start writing it now. And I should set a hard deadline for myself, well before the actual due date. I have lots of editing projects looming, so I can easily justify forcing myself to write the book now and quickly.

I don’t know. I need to do something.

Creativity is a strange beast. Often it’s thought of as something that comes to us in sudden sparks of inspiration. It can’t be forced, we’re told. But when it strikes, the feeling is euphoric. And some of that is true some of the time.

Inspiration can be abrupt and unexpected, and those moments can be euphoria-inducing. The thing is though, if we want to make our living as creatives, we can’t afford to wait for the muse, or whatever, to strike. We have mortgages to pay, groceries to buy, bills arriving in the mail each day. This is our job, damnit!

Which means creativity can be forced. Most times it has to be forced. I write pretty much every day. My muse, on the other hand, is a peripatetic tramp who can’t be counted on to show up at any given time on any given day. If I had to wait for that bastard to show in order to write something, I’d still be working on my first novel.

What does this have to do with me being stuck? Honestly, I’m not certain; I’m working this out as I go. But I think the answer is this: Being stuck is as much a part of making a living as a creator as being inspired. It’s the back half of that shining coin. Fields need to lay fallow for a time before they can be productive again. Writers (and other artists) sometimes need to go through periods of creative dormancy before we can dive back into the projects we want to complete.

This is not an excuse. As I said earlier, I’m cranky. I want to be writing again. But I have also learned over the years that beating myself up because I’ve been unproductive accomplishes nothing. On some level, I believe, the creative brain knows what it needs. Just as a body can crave different sorts of food to meet nutritional needs, the artistic mind can seek out times of rest and times of activity.

I have been in the former for long enough, thank you very much. I am ready for the latter.

Keep writing!

Monday Musings: My Favorite Hidden Gems

Not so very long ago, I wrote a post on some of my favorite things. I thought I would follow up on that with a post about a few things I love that I consider “hidden gems,” things I have found along the way with which a large number of people might not be familiar.

So buckle in and enjoy a brief spin through the backwaters of my artistic and entertainment tastes.

Hidden Gem novels: I have a couple of recommendations in this regard, as it happens, both of them by people I know. The first series comes from fantasy author Lynn Flewelling. Her Tamir Trilogy (The Bone Doll’s Twin, Hidden Warrior, and The Oracle’s Queen) is one I have recommended before, but I love, love, love it, and I think others will as well. It is haunting, thrilling, and romantic, but it also bends our expectations when it comes to gender and the roles imposed upon girls and women. Brilliant stuff.

I also love C.E. Murphy’s Negotiator Trilogy (Heart of Stone, House of Cards, Hands of Flame). These are urban fantasies set in New York City, but they are unlike any UF I’ve read before or since. They’re exciting and romantic (yes, I admit it: I like romantic plots), with a magical element that is utterly fascinating and entirely captivating. I love these books.

Americanization of Emily promo posterHidden Gem movies: Two entries here, too, both of them idiosyncratic. But that’s the point, right? The first is a film from 1964 called The Americanization of Emily. It is a war movie set during World War II, but it will turn your expectations upside down as it rejects normal images of heroism and wartime valor. The cast is great — Julie Andrews in the title role is terrific. She’s worldly, sassy, and a long, long way from Mary Poppins and Fräulein Maria. James Garner, a favorite of mine, is her love interest, and is not at all the usual romantic lead. James Coburn and Melvyn Douglas are strong in supporting roles.

The second film is 1992’s Passion Fish, starring Mary McDonnell, Alfre Woodard, David Strathairn, and Angela Bassett. Written and directed by John Sayles, Passion Fish tells the story of a spoiled soap opera star who is paralyzed in a car wreck and returns to her childhood home in the bayou, intent on drinking her way into an early grave. What she discovers at home changes her life. It sounds hokey and depressing. It’s neither. Trust me on this. It’s wonderful, and the performances are phenomenal.

Hidden Gem music: I’m a big fan of acoustic instrumental music and I have a couple of recommendations along these lines. The first is an album I know I have mentioned on this blog before, but it’s been some time. The album is called Skip, Hop, and Wobble. The musicians are Jerry Douglas on dobro, Russ Barenberg on guitar, and Edgar Meyer on stand-up bass. The music is bluegrass inspired, but it has little of the twang that some object to in bluegrass. Rather, the tunes are by turns lyrical, humorous, and toe-tapping. I have a lot of bluegrass, a lot of instrumental music. This album is unique. I can think of nothing else like it.

The second album I would classify as Scottish folk music. Some might call it Celtic, but I tend to think of Celtic music as specifically Irish. Tomato, to-mah-to. Anyway, the album is called Highlander’s Farewell, and it features Alasdair Fraser on fiddle and Natalie Haas on cello. The music is evocative and gorgeous. You’ll feel like you’ve been transported to Scotland.

Finally, a third recommendation. Alison Brown is an amazing crossover musician. She plays banjo and has been a session player for bluegrass stars like Chris Thile and Alison Krauss. But she also has a band of her own, the Alison Brown Quartet, which includes her husband, bass player Garry West. They play an amazing form of bluegrass-jazz that is completely addicting. I recommend you start with the album Replay.

Hidden Gem TV: Many of you know I am a huge fan of Aaron Sorkin’s The West Wing, and many of you share that passion. Before he started work on that classic, though, he was show-runner for a short-lived series called Sports Night. It’s about a late-night sports show similar to ESPN’s Sports Center, but for a third-place network. Like all of Sorkin’s shows Sports Night is funny, poignant, intelligent, and filled with marvelous dialogue and terrific acting. It aired on ABC, and they didn’t know what to do with it. They marketed it as a romantic comedy and even added a laugh-track, which is really too bad. It was far too smart a show for the network, and they managed to kill it in two seasons. But those seasons are great, and you can find it on one of the streaming services. Easy to binge, and so, so good.

And with that, I will stop, although I reserve the right to return to this theme in future posts.

In the meantime, have a great week!

Professional Wednesday: Confessions — The Ways In Which I Waste Work Time

I have shared some personal stuff in these posts in the past. Today’s post is the most private, the most embarrassing, the most revealing I’ve ever written.

Well, not really. But today, I confess to all of you, in front of God and everyone, how I waste time when I ought to be writing.

Let’s be honest, we all find ways to procrastinate and distract ourselves when we’re working, writers and non-writers alike. I also think, though, that writers in particular need to have ways to occupy the front parts of our brain, while the hind-brain works through plot points and character arcs and the like. (Go with it, people. My blog, my rules . . .) Certainly I need these things. And I resort to all sorts of stuff during the course of a day.

Confession #1: I play Bejeweled Blitz on my phone. I play it a lot, and I have been addicted to it for years. I have enough gold bars and coins piled up to make Warren Buffett envious. I have so many free gems wracked up that I could play for weeks straight, without pausing for meals or sleep, and never have to pay for a gem with any of those hoarded coins. It’s a bit of a sickness, actually. But I do enjoy it.

Confession #2: Bejeweled Blitz is not the only game on my phone. Not even close. I play Wordscapes, Crown Solitaire, Hearts, Spades. I don’t play them nearly as much as I play Blitz, but . . . well, let’s just say I don’t lack for entertainment options. And don’t get me started about Wordle.

Confession #3: I will, at least a couple of times each week, I look at guitars on various music store websites. Yes, I own three acoustic guitars, all of them very nice. Yes, I own an electric guitar. Also very nice. And yes, I covet more. I look at Reverb.com. I look at Musician’s Friend. I look at Sweetwater. I look at Music Zoo. I could go on, but I think you get the point. I never tire of looking at beautiful new guitars that I neither need, nor can afford.

Confession #4: Repeat last paragraph, and everywhere I mention “guitar” substitute “camera” or “lens,” and everywhere I mention a music store, substitute a camera dealer. I’m not proud of this.

Confession #5: I shop for other stuff, too. Books. CDs. Sometimes clothes or shoes. Sometimes gifts for other people. Not as often as I would like you to think. But I do look for stuff for others. Really.

Confession #6: This is really not a confession, because I don’t think there’s anything wrong with it. But I’m talking about procrastinating, so . . . I play guitar during my work day. It’s a good way to refocus, a nice break from sitting at the keyboard, a constructive use of time I might otherwise spend, oh, I don’t know, playing Bejeweled Blitz?

Confession #7: A lot of the online searches I do for the purposes of book research quickly morph into rabbit holes that have nothing to do with my stories and everything to do with wasting time and NOT writing. I have a strong feeling I am not at all alone in this regard. Looking at you, every writer reading this post . . .

Confession #8: A lot of the online searches I do never had any connection to the book or story I’m working on in the first place. They were about birds or music or baseball or anything but the book or story I’m working on. I have a strong feeling I am not at all alone in this regard, either.

Confession #9: Email — blah, blah, blah. Facebook — blah, blah, blah. Twitter — blah, blah, blah. YouTube — blah, blah, blah. Etc. Ad infinitum. Social media is absolutely essential to self-promotion, to building our audiences and platforms. It is also the ultimate time-sink.

Confession #10: Sometimes when I am listening to music when I write, I’ll suddenly just HAVE to know who is playing rhythm guitar on this particular song. And then I will need to know what other albums this person played on and who he played with. And pretty soon it’s an hour later.

Confession #11: This is not a complete list . . .

In all seriousness, to procrastinate is human. It is, I believe, part of my creative process. I was actually serious earlier when talking about front-brain stuff and hind-brain stuff. I find these various things I do to distract myself are essential to my writing day. That’s not just a rationalization. I honestly believe these “wastes of time” enable me to be productive. And I AM productive, despite my distractions, which, I would say, proves my point.

And that mention of rationalizations reminds me of a line from a movie. I think I know which one. And IMDB is a really fun website, so I gotta go . . .

Keep writing!

Professional Wednesday: Why Fantasy, Why Magic?

My oldest brother, Bill, who we lost several years ago, was an avid reader. He loved books of all sorts. Every year, he made a list of the National Book Award nominees — finalists and books on the long list — and read them all. He read fiction and non-fiction, his interests as reflected in the latter ranging from baseball to natural history to military history. He was a poet in his own right, and he revered literature of every stripe.

And yet . . .

He was always quite proud of my career, and he had a shelf among his many book cases that he reserved for my novels. But he felt on some level that I was wasting my ability by writing fantasy. Many times over the years, he suggested I try my hand at writing so-called literary fiction. Every time he did, I cringed just a little.

INVASIVES, by David B. Coe (Jacket art courtesy of Belle Books)The bias against genre fiction (fantasy, science fiction, mystery, Westerns, romance, etc.) among those who consider themselves devotees of “true” literature, is something I have encountered again and again throughout my career. Not surprisingly, I don’t believe it has any basis in reality. Fantasy (to address my speciality) like literary fiction, runs the gamut in terms of quality. One can find in all literary fields examples of brilliance and also of mediocrity. No genre has a monopoly on either. I write fantasy because I enjoy it, because I love to imbue my stories with magic, with phenomena I don’t encounter in my everyday life. I wasn’t shunted to this genre because I wasn’t good enough to write the other stuff. I don’t hide in my genre because I fear I can’t cut it in the world of “real” literature.

I said before that I cringed whenever my brother raised the issue with me. I also told him in no uncertain terms that I was writing what I enjoyed, and enjoying what I wrote, which remains true to this day. Writing fantasy demands that I create coherent, convincing magic systems. Often it requires the creation of entire alternate worlds, complete with their own histories and cultures, politics and religions, economies and social structures. These are not distractions from the fundamental elements of narrative — character development, plotting, pacing, clear and flowing prose, etc. Quite the contrary. These fantastical elements enhance those fundamentals and present unique and rewarding challenges.

Time’s Children, by D.B. Jackson © Angry Robot. Art by Jan Weßbecher.It’s not enough to create my worlds and magic systems. I have to explain them to my readers in a manner that is entirely natural and unobtrusive. And — my own preference — I also have to complete my stories and my character arcs in ways that utilize my fantasy elements without allowing them to take over my story telling. My heroes may possess magic, but in the end, I will always choose to have them prevail by drawing upon their native human qualities — their courage and resolve, their intelligence and creativity, their devotion to the people and places they love. Magic sets them apart and makes them interesting. It is often the hook the draws readers to my books. But those human attributes — those are the ones my real-world readers relate to. They form the bond between my readers and my characters. And so if those are the qualities that allow my characters to prevail in the end, then their triumphs will feel more personal and rewarding to my readers. It is the simplest sort of literary math.

I believe part of the bias against genre fiction is based in the erroneous belief that the trappings of these literary types — magic, imagined technology, romantic tension and conflict, the ticking clock of a murder investigation — somehow serve as substitutes for character development and good writing fundamentals. In truth, they are complements to solid narrative work. Genre fiction, when well done, has all that extra stuff we love AND great story telling.

I expect I am preaching to the choir a bit with this post. That’s okay. It’s not just those of us who write genre fiction who have to put up with the biases of others. Readers of our genres deal with the same sort of prejudices all the time. Fine. Those other people don’t know what they’re missing.

Plus, their book jackets aren’t nearly as cool as ours.

Keep writing. Keep reading.

Professional Wednesday: Punctuating Our Stories (Not the Way You Think I Mean It)

“Louis, I think this is the beginning of a beautiful friendship.”

We all know the line. Even people who haven’t seen Casablanca know the line. (And please, don’t get me started about not seeing Casablanca. I mean, sure, it’s dated, But it remains one of the greatest movies of all time. Humphrey Bogart, Ingrid Bergman, Claude Rains, Peter Lorre, Dooley Wilson, Paul Henreid, Conrad Veidt, and so many others. It has romance, intrigue, action, and it keeps you guessing right up to the stunning ending. See? This is why you shouldn’t get me started . . .) Anyway, the line. It is one of the great bits of closing dialogue in any movie ever made.

But it’s more than just clever. It is the perfect punctuation point for the film’s narrative. From that line, and those that come directly before it in the last minute or so of the film, we know everything we need to about what is next for our hero, Richard Blaine. We know that he’ll survive letting Ilsa go (yeah, I know: spoiler. Get over it. The movie was made, like, three centuries ago. If you haven’t seen it yet, that’s on you, not me). He’ll go on to join the French Resistance and fight the Nazis with Louis Renault by his side. And, very likely, he and Louis will be heroes in that effort.

What’s my point?

Simply this: Every story — certainly every novel — needs its own version of “Louis, I think this is the beginning of a beautiful friendship.”

I’m doing a lot of editing these days, and I have seen several manuscripts that reach endings of a sort, but that fail to tie things up in a satisfying way. To be clear, I am not saying that every book needs a pat conclusion. We can leave some questions unanswered. We can hint at futures to come. My favorite fantasy novel of all time, Guy Gavriel Kay’s Tigana, ends with a prophesy that suggests fates for three men, but we are left to wonder which future is tied to which character. It works.

I am also not talking about the climax of your novel. That is something different — also important, obviously, but different.

What I am suggesting here, rather, is that we need to have some closure for our lead characters, AFTER the final battle/confrontation/major plot point. We need to see those characters in the aftermath of all to which we have subjected them, and we need to see them moving on (or not), healing (or not), finding peace or contentment or new purpose (or not). Yes, the details are vague. I would never think to tell any writer how content-wise to end their book. We each have a vision of what awaits our characters and that is intensely private.

The Loyalist Witch, by D.B. Jackson (Jacket art by Chris McGrath)But at the very least, we need to see our main heroes grappling with what they have endured and setting their sights on what is next for them. We don’t need this for every character but we need it for the key ones. Ask yourself, “whose book is this?” For me, this is sometimes quite clear. With the Thieftaker books, every story is Ethan’s. And so I let my readers see Ethan settling back into life with Kannice and making a new, fragile peace with Sephira, or something like that. With other projects, though, “Whose book is this?” can be more complicated. In the Islevale books — my time travel/epic fantasy trilogy — I needed to tie off the loose ends of several plot threads: Tobias and Mara, Droë, and a few others. Each had their “Louis” moment at the end of the last book, and also some sense of closure at the ends of the first two volumes.

TIME'S DEMON, by D.B. Jackson (Art by Jan Weßbecher)Why do I do this? Why am I suggesting you do it, too? Because while we are telling stories, our books are about more than plot, more than action and intrigue and suspense. Our books are about people. Not humans, necessarily, but people certainly. If we do our jobs as writers, our readers will be absorbed by our narratives, but more importantly, they will become attached to our characters. And they will want to see more than just the big moment when those characters prevail (or not). They will want to see a bit of what comes after.

So, I am suggesting that you decide which characters matter most to your story and therefore to your readers, and then give those characters (and your readers!!) a satisfying conclusion to their narrative and personal arcs. Let us see them post-conflict, post-finale. Give us a glimpse of what life has in store for them next. They have been our friends and companions for hundreds of pages. Maybe thousands. And while we can reread the story you’re finishing, the fact is we’re saying goodbye to them. We may never encounter them again. Or maybe we will, in which case you can hint at that. But we need . . . something.

J.R.R. Tolkien did not end The Lord of the Rings with the battle in front of the gates of Mordor. He didn’t end it with the scouring of the Shire, or even with Frodo and Bilbo sailing to the Grey Havens. He ended it with Sam returning home after bidding farewell to Frodo and saying, “Well, I’m back.” Because that is the point of the story: Our heroes may be leaving these shores, Aragorn may be king far, far away and Legolas and Gimli may be back with their people, but the Shire and Middle Earth endure and go on. And Sam is the best character to make that point.

Mastering the use of that sort of story punctuation is a key element of effective storytelling. I recommend you work on it.

Keep writing!

Monday Musings: “Time, Time, Time, See What’s Become of Me…”

The other day, as I was shaving (yes, I shave, despite the beard — I like to keep it trim and neat) I paused, taking in how very white my beard looks these days. There is almost no brown left in it. My temples are graying, my thinning hair is frosted with more white than I had realized. I am grizzled. That’s the polite way of saying it.

I suppose I should pause here to make a confession: I had a birthday last week.

To be sure, I am feeling my age. But this post is about more than just a guy of advanced middle age staring down the barrel of his sixtieth trip around the sun (my next birthday is A Big One). Time seems to be rushing past in an alarming way. We’re more than halfway done with March and I have no idea where the first two-months-plus of this year have gone. Each week, I set work goals for myself, and generally speaking I meet them. But then I have other things I want to get done — personal things; a song I want to learn on my guitar, photos I want to process from a recent shoot, a walk I’d like to take — but the week is already gone, and I am no closer to getting those things done.

I remember when I was college I spent a lot of time fighting the passage of time, which is a losing battle if ever there was one. I don’t know if I was hyper-conscious of how brief those four wonderful years would wind up feeling, or if I was struck by a growing awareness of my parents’ aging, or if I was merely anxious to get on with my life — with my search for direction, for love, for confidence and contentment. Whatever the reason, I struggled with a sense that my life was speeding past me, and I needed to slow it down somehow.

I have that sense again now, but it’s my own aging that has me thinking this way. Life is hard right now. It’s hard in a macro sense — the pandemic, the war in Ukraine, the existential threat our own actions pose to our planet. It’s hard in a personal sense — my daughter’s health, end-of-life issues impacting Nancy’s parents, the difficulties of maintaining a writing career in this publishing climate, my own struggle with anxiety.

And yet, despite these difficulties, I am enjoying life as much as I ever have. Nancy and I are empty-nesters and, as much as we love our daughters, we also love our life together. We are deeply proud of the adult human beings our girls have become, and we savor our time with them. The literary landscape is fraught, but I love the stuff I’m writing, and I have been enjoying my new career as an editor. Nancy has just reached a career milestone and is finally receiving the recognition and attention she has deserved for so long. Life is good. But it is speeding by. Again. Still.

When I was a kid, I would express impatience for one thing or another — my next birthday, a baseball game for which we had tickets, a family trip in the offing — and invariably my mom or dad would say, “Don’t rush it. It’ll be here before you know it.” Years later, I found myself saying the same thing to my girls. Each successive year of life represents a smaller percentage of the time that has come before. Of course the years feel shorter and shorter. Put another way, time snowballs. It is relentless, immutable. It is the advance and retreat of the tide, the rotation and orbit of the earth. Sunrise and sunset. Waves upon sand. Pick your cliché.

The title of this post comes from Simon and Garfunkel’s “Hazy Shade Of Winter” — Paul Simon is a musical hero of mine. James Taylor, another of my musical heroes, famously sang “The secret of life is enjoying the passage of time.” He may well be right. I wouldn’t know. It’s not a skill I’ve ever mastered.

I’m just back from a week in Florida with Nancy, Erin (our younger daughter), and Erin’s boyfriend. I’d been looking forward to the trip for weeks, months even. As my parents would have warned, it was here and done before I knew it. I have learned nothing. Erin is preparing for a move westward. She has a job waiting, the promise of a new life with her love, the anticipation of the unknown, of something new and different and exciting.. She is counting the days. I can’t blame her.

Time, she likes to tell me, is a human construct. Like money. It doesn’t really exist except in our own minds. It has units and meaning and definition because we give it those things. And yet, it is the defining characteristic of life, of existence.

On a recent trip north, I spent a morning with two close friends from high school, guys I hung out with, was in theater with, got high with, played music with. We three hadn’t been together in probably thirty-five years. We had a great time. Truly. The years melted away. Except they didn’t. We were, all of us, wiser, calmer, kinder, more tolerant, less competitive. Time is a cudgel, but also a balm. It tests us, but it also smooths our edges. When my friends and I were making our plans to get together, the time since our last encounter felt like a chasm. It turns out it was anything but. Maybe Erin is right, and it doesn’t exist except in our heads.

I honestly can’t tell you what my point is. I’ve had a few posts like this recently. There’s a reason I call them “Monday Musings” . . . This is what I’m thinking about right now. Time. Age. Life. And I wish the flow of days and weeks and months would slow down a little, especially with spring coming. There are things I’d like to do.

Have a great week.

Monday Musings: The Things We Care About, a #HoldOntoTheLight Post

#HoldOnToTheLight

I honestly don’t know where this post is going, and so please bear with me as I work through my tangled thoughts.

I am struck today — as I ponder a life that is both fraught and wonderful, complicated and strikingly simple, weighted with deep worries and buoyed by simple yet profound pleasures — by the oddity of the things we choose to care about minute to minute, day to day, year to year.

As many of you know, last year our daughter was diagnosed with cancer. Her initial treatments went well, her maintenance regimen has been harder to pin down and she recently had a small setback — minor, but with cancer nothing is truly minor.

I suffer from anxiety anyway, and so any change for the worse in her situation can send me into a tailspin. The truth is, lots of things, big and small, can send me into a tailspin, but I am hardly unique in that regard. And when it comes right down to it, I am not convinced my anxiety explains the emotional phenomena with which I’m grappling in today’s post.

Perhaps an example will help me clarify my topic and allow you to follow along as I muse and ponder. I find — and this is nothing new — that one moment I can be focused on my daughter’s health, or something else of equal importance and solemnity, and the next I can be completely put out by my inability to solve the day’s Wordle puzzle in four guesses instead of five. A frivolous, even absurd, example to be sure, but I offer it in all seriousness. The frivolity is kind of the point.

This has been a difficult couple of years to say the least. I often begin my morning walks mired in dark thoughts, consumed with worry about my kid, or the state of the world, or, for a long time, the persistence of the pandemic. And then I will spot a hawk along the trail, or a warbler will pop up and start to sing in plain view, and I will be filled with happiness. Fleeting perhaps, but not any less powerful for its brevity.

We can be resilient creatures, we humans. And I do think some of what I’m writing about is resilience. Part of it might be as well the simple reality that our emotions demand respite. It can be exhausting living with worry or with grief. Many of us, myself included, live with anxiety or depression or other mental health issues, and these conditions can compound that weariness. Many of us struggle to find those moments of pleasure, those glimpses of resilience.

But the fact is, our minds — or at least my mind — seem to seek out breaks from the toughest issues. How else can I explain being consumed with the threat of global climate change one moment, and truly caring who wins the Tottenham v. Manchester City soccer match the next? How can I worry about my children, or the health of my in-laws, and also care whether I solve the puzzle on my phone in the allotted sixty seconds?

Do our minds do this to preserve our sanity? Ophthalmologists tell us that we can ease strain on our eyes when sitting in front of our computers by taking a few minutes periodically to focus on something farther away. Isn’t that what our brains do, too?

Okay, so I’m nearly six hundred words in to this post, and I still haven’t figured out what the hell I want to say. I suppose I am trying to explain to myself how my own coping mechanisms work. I know that for me, constant worry is debilitating. The intrusions of the frivolous save me from myself. I care about Wordle not because it matters, but because in making it matter, I force myself to look elsewhere, to focus on something other than the hard stuff right in front of me. I allow myself the pleasure of a bird sighting — or a song well played on my guitar, or a successful photograph — because without such pleasures my world would be a bleaker place.

I suppose I am merely describing distractions, which all of us have. And perhaps what I’m actually doing, in public, and in a roundabout way, is giving myself permission to be distracted. Because, I have to admit, in the depths of my legitimate worries, I am embarrassed by the trivial things I care about. Resilience. Distraction. Fun. Pleasure. Joy. When we confront serious matters — including life and death matters — these things can feel wrong, like violations of self-imposed gravity. How dare I take pleasure in a new music CD when my kid is dealing with cancer. How dare I care about a soccer match, or a Wordle puzzle, when the world is in crisis.

The thing is, though, without all those pursuits that delight and distract and bring joy, why does anything else matter? We help no one when we deny ourselves simple pleasures. Because they not only are born of resilience, they also promote it. And without resilience we are of no use to the people who need us, to a world that demands our attention and our compassion.

Perhaps this post is one long rationalization, a way to convince myself it’s okay for me to have fun now and then. But I think it’s more. In the depths of difficult times, I believe we need to remind ourselves to take joy when and where we can. Life is hard. We face no shortage of excuses to be sad or frightened or angry. Our humanity demands we also create opportunities to find happiness and peace, even if just for a short while.

Wishing you wonderful week.

 

Professional Wednesday: Most Important Lessons — Trust Yourself, Trust Your Reader

Today, I’m introducing a new feature for my Professional Wednesday posts: “Most Important Lessons.”

We are coming up on the 28th anniversary of the start of my career (which I trace to the offer I received from Tor Books on Children of Amarid, my first novel). To mark the occasion, I thought about doing a “lessons I’ve learned” post. I quickly realized, though, that I could write 20,000 words on that and still not exhaust the topic. Better then, to begin this series of essays, which I will return to periodically, as I think of key lessons that I’ve learned about the business and craft of writing.

I’ve chosen to start with today’s lesson — “Trust Yourself, Trust Your Reader” — because it’s one I’ve found myself repeating to writers a lot as I edit short stories for the Noir anthology and novel length projects that come to me through my freelance editing business.

Jacket art for Bonds of Vengeance, book III in Winds of the Forelands, by David B. Coe (Jacket art by Romas Kukalis)Honestly, I think “trust yourself” is good advice for life in general, but for me, with respect to writing, it has a specific implication. It’s something I heard a lot from my first editor when I was working on my earliest series — the LonTobyn Chronicle and Winds of the Forelands.

Writers, and in particular less experienced writers, have a tendency to tell readers too much. Sometimes this manifests in data dumps, where we give way more information about our worlds or our characters than is necessary. And yes, that can be a problem. I have no doubt that in future “Most Important Lessons” posts, I will cover world building, character, and ways to avoid data dumps.

For today’s purposes, though, I refer to a different sort of writing problem that can be solved simply by trusting our readers and trusting ourselves. As I said, writers often tell readers too much. We explain things — plot points, narrative situations, personality traits. And then we tell them again. And again. And as we build to our key narrative moments, we give that information yet again, wanting to make certain that our readers are set up for the resolutions we’re about to provide.

There are several problems with doing this. First, it tends to make our writing repetitive, wordy, and slow. Nobody wants to read the same information over and over. It’s boring; worse, it’s annoying. Second, it forces us to hit the brakes at those moments when we should be most eager to keep things moving. If we’re explaining stuff as we approach the climactic scenes in our stories, we are undermining our pacing, weakening our storytelling, robbing our stories of tension and suspense. And third, we are denying our readers the pleasure of making connections on their own. We are, in a way, being like that guy in the movie theater revealing key moments in the film right before they happen on screen. And everyone hates that guy.

We have to trust that our readers have retained the things we’ve told them. We have to trust that they are following along as we fill in backstory, set up our key plot points, and build our character arcs and narrative arcs. We have to trust that they are right there with us as we move through our plots.

In other words, we have to trust that we have done our jobs as writers.

Trusting our readers means trusting ourselves. Readers are smart. They pay attention. They read our stories and books because they want to. Sure, sometimes they miss things. Sometimes they skim when they ought to be paying attention. As a reader myself, I know that I am not always as attentive as I ought to be. But I also know that when I sense I’ve missed something important, I go back and reread the sections in question. Your readers will do the same.

Trust that you have engaged them with your plot lines and characters. Trust that you have given them the information they need to follow along, and have built your stories the way you ought to. Trust that they are following the path you’ve blazed for them.

“But,” you say, “what if I haven’t done those things? Isn’t it better to be certain, to tell them more than they need to know, so that I can be absolutely sure they get it?”

It would seem that way, wouldn’t it? But that’s where trust comes in. Sure, there is a balance to be found. We don’t want to give our readers too much, but we don’t want them to have too little, either. And the vast majority of us fear the latter far more than the former. We shouldn’t. Again, readers are pretty smart. If the information is in the book, they’ll make use of it. Better, then, to trust, to say, “It’s in there. I’ve done what I could, what I had to. I am going to trust that I did enough.”

Yes, the first time or two, we might need to revise and give another hint here or there. But generally speaking, when we trust our readers — when we trust ourselves — we avoid far more problems than we create.

Trust me.

Keep writing.

Professional Wednesday: Down Time Is Not Wasted Time — A Guest Post From JD Blackrose

My friend JD Blackrose has a new book coming out — Demon Kissed, a novel I was happy to blurb. Today she drops some writing wisdom on us. Read on!


JD BlackroseYou won’t get your best ideas sitting at your desk. You’ll get them in the shower. Or, when you’re driving your car, or taking a walk on a snowy day.

Unfortunately, the only things these three scenarios have in common is that you usually can’t write anything down. I’m willing to guess that authors lose more ideas to a lack of pen and paper than to anything else.

In an article on the website for the meditation app, Headspace, author Christine Yu reports that her cousin once gave her a waterproof notepad and pencil so when she got her best idea in the shower, she had a place to write it down. (I didn’t know such a thing existed, but it does. Google “Aquanotes.”)

Or do what I do and carry your phone with you. Type a few quick words into the Notes section of your phone at a red light. If you are a sophisticate, leave yourself a voice memo. In the shower or while chopping veggies, when you can’t just stop mid-suds or slice, yell to your partner, “Remind me about the pig with the swizzle stick,” or ask Siri to take a memo. Just saying it out loud should be enough to get you through a quick wash or salad.

It’s all good, and it is all valuable, because you’ll need those notes of inspiration later. How many times have you been raring to go, ready to write, only to sit in front of your computer and find your ideas have dried up?

Demon Kissed, by JD BlackroseIt’s happened to all of us. It happened to me writing my new book, Demon Kissed, and the next two in The Summoner’s Mark trilogy, coming from Bell Bridge Books.

Luckily, I had notes for inspiration, and I used them to get a handle on the main character and her voice. If I hadn’t had those stolen thumb-typed crib sheets, I wouldn’t have gotten a foothold on the story at all, or maybe I would have, but it would have been much later and my chance to pitch the books might have passed me by.

Writer A.A. Milne is often quoted as saying, “Don’t underestimate the value of doing nothing.” This is accurate, but the full quote is, “Don’t underestimate the value of doing nothing, of just going along, listening to all the things you cannot hear, and not bothering.”

Very Winnie-the-Pooh.

As writers, we talk a lot about “butt-in-chair” practice. Get a certain number of words each day! Set aside one hour every single day! Write a story start to finish.

It’s all good advice, and yet, nonsense.

According to Yu’s article, problem solving through insight involves the right temporal lobe of the brain, while problem solving via a more active, analytical approach involves the frontal lobe. We literally are using our minds differently, and being in the shower, or exercising, or being in woods puts us in a state of rest and relaxation, ready to receive inspiration.

In other words, we need both. I do a lot of yoga and the title of this piece comes from an online yoga instructor who said, “Down time is not wasted time.” He’s absolutely correct, and though he was talking about yoga, it applies to our writing practice too. Spinning our wheels in front of the computer makes us cranky and defeated. It is the opposite of what we are trying to achieve, and when we do create words under those conditions, they are often stilted.

While I believe in creating a writing habit, something I’m going to write a book about soon, I also believe that writing time is not necessarily all about fingers on keyboard or pen in hand. You must pay attention to the other part of your brain and give it the space it needs to work.

Malcolm Gladwell, in his book, Blink: The Power of Thinking Without Thinking, talks about the “Four Horsemen: defensiveness, stonewalling, criticism, and contempt.” If this sounds like your inner voice, it is time to take a break and go for a stroll. Take notes or dictate into your phone, or dare to do nothing and not bother, like A.A. Milne. Come back to your writing later. The words might be there then.

*****

About JD Blackrose

JD Blackrose is the author of The Summoner’s Mark series from Bell Bridge Books, and The Soul Wars, The Devil’s Been Busy, and the Zombie Cosmetologist novellas from Falstaff Books, as well as numerous short stories, including “Welcome, Death” in the Jewish Book of Horror.

Demon Kissed is out February 28th.

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Visit the author’s website. Read an excerpt of Demon Kissed.
Purchase:  Indiebound | B&N | Amazon | Kobo