editors

What is steampunk?

/ AuthorMeganCox / 2 Comments

Steampunk. If you’re a writer, you may have run across this cute little term in an editor or agent’s “interests” section. As a reader, your thinking, “Say what? Punk?”

Yeah, I know. Makes me think of pink Mohawks too.

But don’t get confused here. Steampunk is a blenderized combination of the late 1800s/early 1900s, industrialization, and, you guessed it, a punk rock feel (click here for Wikipedia’s more in-depth, more technical, and more helpful description). While discussing this theme with another writer, she and I decided (scientifically and on our very strong authority) that this isn’t a genre so much as a thematic element of a story. Difference? Steampunk can be implemented in so many stories, making it a creature all its own.

steampunkSo, what is considered steampunk? Well, going back to the beginning, when the late 1800s was contemporary, you had the oh-so-talented Jules Verne writing books like Twenty Thousand Leagues Under the Sea and H.G. Wells’ Time Machine. There you go. There’s steampunk in its infancy, in probably its most original form.

In modern days, the element of steampunk may look like the new movie versions of Sherlock Holmes, or something of that nature. It could almost be described as sci-fi meets historical fiction…or something like that. But steampunk doesn’t have to take place in the 1800s. Oh no. It just has to have the look and feel of Victorian times and industrialization. So you can set it in modern times and the future too!

Don’t ask me how. I haven’t been able to generate any ideas on those two points.

But I do have some thoughts swirling now. So I best get started. If the book industry has taught me anything so far, it’s that as soon as something’s made into a movie–wizards, vampires, dystopian, etc.–it goes out of vogue for a while.

So I better get cracking. I don’t mean to be rude, but excuse me while I go pick up my copy of Around the World in Eighty Days.

What the fudgcicles? To cuss or not to cuss in YA fiction…

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In every writing workshop I conduct, the topic of using swear words in teen fiction is a huge issue of debate, with people as polarized over the subject as the American legislature on the Affordable Healthcare Act. And I have to say, I’ve found both sides (on the swear word debate) to have valid reasons for believing the way they do.

On the pro side, I’ve found that teens in my workshops shrug their shoulders and often tell me that they use bad language all the time. “Why not use it in writing? It reflects reality,” they say. And I see so many aspiring writers who appear to do just that–have their characters use bad language in an effort to make them seem real. Cool. Edgy.

Then, on the other side of the debate, are those (often parents) who say, “Why expose my kids to this? They get enough of it every day.” Still others say it’s lazy writing, that curse words are used when the writer wants to sound tough but can’t think of any other way to achieve it.

I like to take a step back from the argument. I mean, I’m breaking up fights between toddlers on a daily basis; by noon each day, I’ve usually done a year’s worth of refereeing. I don’t like to take sides when I don’t have to. I’m a “let’s look at the situation” type of gal. So where do I weigh in on this issue?

After writing twelve novels (and counting) and having both used language and shied away from it in the past, I’ve learned this: your character and target audience will make the difference. For example, in the Teen Mobster Series, my target age range is eleven and up. Of course, it is the Mafia, which isn’t known for it’s, uh, gentlemanly behavior. But I found a way around it, telling my audience that men are “cursing” in the story without writing the actual words. Realistic, but still appropriate for the age range.

But in other books, especially more mature teen books (14+) that deal with contemporary issues (sexuality and bullying, for example–follow my Twitter handle to learn more about upcoming releases), sometimes a character displays his or her personality through the use of a curse word, or a character’s reaction to cursing tells the audience more about him or her. I try to use swearing sparingly, but with discretion, always wanting a novel that deals with critical issues to feel authentic to the readers it’s meant to touch.

So the decision is yours. Just remember what Ernest Hemingway said:

“…Try and write straight English; never using slang except in dialogue and then only when unavoidable. Because all slang goes sour in a short time.”

Cheers.

My new love – The Emotion Thesaurus

/ AuthorMeganCox / 3 Comments

I have discovered a very cool writing resource. The Emotion Thesaurus: A Writer’s Guide to Character Expression, is pretty awesome. I love it. I mean, I touch it a lot, give it yearning looks, and glow when I gaze on it.

Okay, so that may be a little over the top as far as showing my emotion for it, but I think you get the picture.  In a world where editors pound the pulpit with the words “Show Don’t Tell,” we writers must consider each and every sentence we pen. Did I write that someone was frustrated? Buzz! Wrong answer. Instead, that person might show frustration by crossing their arms, clenching the jaw, or tapping a foot or fingers. Oh yeah. Now I’m feeling it.

Of course, too much of a good thing is, well, still a good thing, and I’ve found this book inspires some of my own ideas of what physical signs I give off that betray my emotions. As a former communication major, the critical nature of nonverbal communication was pounded into my head, so that’s a good thing to remember. If your character says, “That’s great,” after an impatient snort, well, that’s better than writing “he said sarcastically.” Editors hate adverby dialogue tags too. FYI.

Of course, I’m not the adverb hater that so many are. Stephen King killed this part of speech with his famous: “The road to hell is paved with adverbs.” Sometimes, my character says something softly. It’s not a whisper, it’s not a hiss. He says it softly. End of story.

But adverb wars aside, I think  the best way to approach the “Show Don’t Tell” is to think of your novel like a movie script. In script writing, you tell the director and actors what the character is doing while they speak. Obviously there’s some room for interpretation, but the concept is that actions speak louder (or at least, as loud) as words. When I write a scene, I picture the people interacting in my head, and if the behaviors are hard to grasp, I close my eyes and think of myself either doing the motion or saying the words. Having a thesaurus for common emotions, of course, is icing on the cake. And I really, really like icing.

So check out The Emotion Thesaurus if you’re serious about improving your style and characterizations. And if it makes you happy, don’t forget to smile and step lightly:)

The Emotion Thesaurus: A Writer’s Guide to Character Expression
By Angela Ackerman and Becca Puglisi

ET

Eight reasons you should go to that writers’ conference…

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Last weekend, I attended my first writers’ conference in a while. Let me tell you, it was a good experience, and it taught me the value of meeting with other writers, as well as taking advantage of listening to and chatting with editors and agents, people who often seem so far away from my little neck of the woods in Oklahoma (okay, maybe it’s less woods here and more fields, but you get the picture).

Here’s a few reasons you should consider attending a writer’s conference (assuming writing is something you like to do)…

1. Editors and agents are nice people. Who knew, right?

2. You learn that everyone has recieved rejection. In fact, people are pretty proud of the drawers holding all their letters.

3. Some writers’ ideas are way crazy. So don’t be afraid to let your crazy out of the bag.

4. Writers are an eclectic bunch. So your degree is in electrical engineering and you want to write a picture book about a fastidious grasshopper? Go for it.

5. Hotel banquet food generally sucks, but the cookies are always awesome.

6. The projects that editors are working on are really exciting, but they’re always looking for more.

7. Editors and agents are nice people. Did I say that already?

8. Authors with big publishing houses work hard. Really, really hard. If you want to do this for a living, you better not expect a cakewalk.

So sign yourself up for your next writer’s conference (I recommend SCBWI if you write for the twenty and younger crowd). Worst case, you learn a little something, and best case, you come home inspired.

Ready, set, write – A few short steps to start a novel

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You have it! That killer, awesome, super cool, totally-going-to-get-you-a-literary-award-and-movie-deal idea for a novel. So what are you waiting for? Get those little fingers moving.

Okay, so maybe it’s not that easy. We all have some pretty good story ideas. But how do you take a big, fat, fabulous idea and streamline that baby into a can’t-put-it-down-or-I’ll-die kind of book. Well, I’ve got three solutions to help you get started. Of course, once you get rolling, the real work is ahead. Finishing a book and then taking the time to really rip it apart and put it back together (otherwise known as the revision process) is the super hard part of this. Then again, maybe getting started really is the biggest challenge. Because often, when you get something moving, it’s just a matter of keeping it going, am I right?

Step one: Figure out who your story is about. People don’t care about what is happening unless they care about the people it’s happening to. Who is your protagonist? Your antagonist? Who are the supporting characters–love interest (I’m sorry, but you’ve got to have one), friends, marginal enemies, etc.? Make up a cast list as though you’re casting a movie. Who would play your characters and why? What are their strengths and weaknesses (a hint here–usually what makes a character strong can also make him or her weak).

Step two: Know where you’re going. You wouldn’t take off on a road trip without an intended destination, right (unless you have tons of money and no one who depends on you, in which case, I really don’t know what to say to you)? Well, writing is the same way. You don’t need to know the tiny weeny details (such as, where are we stopping to stay/eat/gas up/etc.), but you do need to know where you want to end up and maybe have a rough map of how to get there. I’m not a big outliner myself, but I do plan out my book when I start and as I go along. Otherwise you may find yourself running in mental circles.

Step three: Word count. Oh yeah, this is important. You must set a weekly goal of how many words you want to write and have an idea of how many words the book will be. Note to prospective authors–writing novels over 100,000 words may give you some heartache when it comes to selling the thing. Also, many book genres have more specific word counts, so pay attention to those. When you become a super-duper big time writer, you can write how many ever words you want, but for the time being, get an idea of what is publishable. Next, decide how many weeks you want to take to write a first draft and what’s feasible for you to write on a weekly basis and set a word count goal. Then stick to it and reward yourself when you hit certain milestones.

And that, my friends, is a quickstart plan for you and that awesome book sitting in your head. Just remember, writing a novel is easier said than done. And read, read, read in the genre you want to write. There’s nothing wrong with studying success:)

Rules for opening the story (easier to read than follow!)

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In Twilight, the carry on was a parka. In Harry Potter, Mr. and Mrs. Dursley were perfectly normal. And in Hunger Games, the other side of the bed was cold.

These are the openers for three books that have taken both the publishing world and Hollywood by storm. While the stories have grabbed the minds and hearts of readers, one wonders just how important the opening of the story is. I mean, we want deep characters whom we can care about, nail-biting action, and an ending that either suprises us or delivers a great victory. Does it matter if the first two or three pages limp along a little, if the rest of the story is a home run hit?

Oh yeah. It totally does.

This is because the opening is what helps you sell your idea and your writing. There’s no perfect formula for opening a story. That’s because writing isn’t formulaic (and writing that is doesn’t usually go anywhere). But after reading hundreds of bestsellers over the past few years and finally breaking into the publishing world myself, I have learned some important lessons about opening the story. Call it a short dos and don’ts list. Oh, and remember, all these rules have and will be broken. That’s the mind-boggling part of this game.

Do

– Let the reader hear your writing voice and get the feel for the intended mood of your novel. Is the story supposed to be funny or witty? Get those one-liners rolling. Action packed? Start with conflict. Mysterious or dark? Create the atmosphere right away.

– Introduce your character and what he/she is like. A reader needs to know who the protaganist is and why we should care about him or her (or, like in Lu’s Legend, both). This doesn’t mean you start with a list of attributes. Through action or dialogue and the characters reactive thoughts, you can show who this person is meant to be.

– Pace yourself. This is tough advice to follow, especially because agents and editors don’t give a potential book much of a look past the first few pages. But trying to get to the crux of your story too quickly doesn’t give you time to build the anticipation for the inciting incident.

Don’t

– Start out with the same old, same old story line. In teen comtemporary or paranormal fiction, you see new school situations all the time. In dystopian novels, it’s the day you get your job, mate, etc. If you read a lot (and if you’re an aspiring writer, there’s no excuse not to), than you are at an advantage. If you’ve heard it before, chances are, an agent or editor has too–a hundred million times.

– Give all the details. You’re writing a novel, not a news article. No inverted pyramid necessary. My mom is really good at this. She tells me stories about the most mundane things, but she always builds the anticipation by keeping the important information back and creating a sense of mystery. It may be groan-inducing when it’s a story about a trip to the grocery store, but this is pretty critical when beginning your novel.

– Get married to your opening so you can’t change it. I know the feeling of crafting the perfect paragraph, page, or first chapter and feeling you can’t possibly get rid of it after all that hard work. On the other hand, if, after writing most or all of the rest of your novel, you can think of a better way to start it, be ready to hit that delete button. It’s not about saving every single line you crafted–it’s about telling the best possible version of your story. And sometimes, that’s why feedback is worth it’s weight in publishing gold.