Archive for the ‘words’ Category

As I enter the final stages of editing my third book, The Last Tree, I find I’m often asked the question, “What are you going to write next?” The answer is, I don’t know. This is the third and last volume in my middle grade trilogy, The Chronicles of Aden Weaver, and it has so engrossed every moment, I haven’t had the chance to look beyond it.

When I do look beyond it, I feel this irrational fear, which I believe is commonly felt among other writers. Will I ever write another story?

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For the last fourteen years, I’ve been fitting in writing the Chronicles around raising my two youngest sons. As a solo mum, with a house and garden to care for, and elderly parents, I enjoyed every chance I had to escape into my imaginary world on the planet of Chiron, whenever I was writing. It’s hard to imagine moving on. The thought of starting a new plot, a new world, a new dilemma, and new characters terrifies me.

It’s not me who writes the genesis draft anyway. Elizabeth Gilbert calls the process of inspiration, the ‘other’ energy that comes from nowhere and brings the stories with it, the muse; some call it a “genius.” The stories arrive from elsewhere as if they come on the wind. You have to be fleet of mind to grab them when they whistle by or you might miss out.

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I guess that’s part of the fun also of being a writer, living on the knife edge while you wait to be the instrument of the creative ferment. Once you start the process of formulating a story, you open your mind to ideas and wait for lightning to strike.

I haven’t had to do that in a long time. I’m nervous. Last night, I had a few nightmares. Thinking about them upon waking up, I could see the common denominator was fear. I decided, as we approach the winter solstice, that I would let go of all fear around writing the next book.

Every writer goes through this same anxiety at some point. Will I ever write again? Every writer has a different way of handling the period of not knowing that follows finishing a project and before starting the next.

My method is to craft notebooks for each potential project.

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This began back in the 1980’s, when I was writing my series, The Great Adventures of Splat the Wonder Dog. I put effort into creating a notebook of every background detail. The act of crafting images, making lists of story details and background and focusing in on the tale seemed to bring it to life in a whole new way.

The notebook also helped corral my thoughts and world-building.

In 2005, when I started writing The Chronicles of Aden Weaver, my notebook was a pad of old paper on the nightstand, on which I jotted down details of background, history, geography, characters, setting, mythology, religion, and plot each time I passed. There were no sketches or pictures pulled from magazines. I had two sons under the age of ten. I didn’t have time to shower or clip my own fingernails, let alone make works of art. Simple or not, the creative process was still seeded and propagated through the power of that notebook.

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This afternoon, I was doing the housework when an idea for a story setting popped into my head. It was a simple notion about an island I had read about years ago, in one of the old hardbacks in my parents’ home library. A few more ideas flashed by. I grabbed for my trusty moleskin and jotted them down. The muse was in flight.

The next logical step for me is to start collating these ideas into one place – a notebook. It’s so exciting! Whether it turns out to be a series or stand alone novel, that humble repository is where it will come together. While I’m still hard at work on publishing my third novel, the fourth will have time to develop.

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New Zealand author, Joy Cowley, said that she ‘baits the hook, drops it in the water and then waits for three to four years for each story idea to gather more ideas.’

I see my notebook method as being very similar to this analogy. Maybe someday soon, I’ll have an answer to the question, “What are you going to write next?” and it all begins right here with a pen and paper.

I’m ready for a new adventure to begin. Bring it on!

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Talk to you later.

Keep on Creating!

Yvette K. Carol

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I have yet to meet a writer who wouldn’t rather peel a banana than apply himself to a pen. – Alice Thomas Ellis

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

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A good friend said to me a few years ago, that entering one’s “middle years” was like fall, in that ‘things started to drop away from you like leaves from the tree.’ I think that is a handy analogy for this season of life I find myself in. After losing both my parents in the last two years, as well as a good friend, thinking of this time in my life as ‘being like fall’ helps me achieve the right mindset. That way, I accept loss as the natural order of life and the way things go.

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I put this realisation into my work-in-progress, a middle grade fantasy novel called, The Last Tree. Because of the youth of the characters, the realization becomes an initiatory one. I was able to use my recent experience with grief to write more realistically about the grief we feel as kids when we first take those first tentative steps towards adulthood, and we start to leave childhood behind. I can clearly remember being that age of twelve to thirteen and not wanting to grow up.

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Our young hero, Aden Weaver, was eleven in book one of The Chronicles of Aden Weaver series and each book covers the course of a year in his life. The Last Tree, being the third volume in the trilogy, includes the final battles, and the flowering into fullness of the child character/s must transpire.

As Aden Weaver is thirteen in The Last Tree, he is therefore on the cusp of change, walking that fine line of the transition between boyhood and manhood. He would naturally entertain his first thoughts about mortality. I did this through having his beloved mentor start to age rapidly. The thin line I had to walk was to have Aden experience loss while not dwelling on it to the point of being morbid.

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I knew I had to handle everything about the final book with care. In The Last Tree, Aden Weaver says goodbye to people he loves. It is a graduation story after all, and with graduation comes leaving people and places behind, so while there is bliss there is sadness. That’s life. It’s how we handle what happens that defines us.

It’s vital for the reader’s sense of resolution that Aden displays the depth of character at the end of the series absent at the beginning.

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The protagonist must demonstrate a growth arc and become that thing that was promised in book one, the wannabe must become the warrior, the hero, the more evolved, more complete version of themselves.

Aden, must taste the bitter fruit of reality and grow up a little and move on with new maturity. It’s a delicate piece in the mechanism of the coming of age story. However, I don’t prefer writing morbid fiction for children. You can see in the success of series like The Hunger Games that this generation of kids has high tolerance levels for death and violence. I read the Hunger Games trilogy to my boys earlier this year, and I was shocked at the content. It’s that sort of thing I couldn’t do.

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I want to do my story and characters justice in a potent way without the gore.

To me, there should be some reflection of life’s difficulties in our children’s books, and it also needs careful treatment. When you are writing for the 9-13 year-old age group, this acknowledgement of the child grasping the intransience of life needs to be touched on in some way, to be authentic to that stage of life. It’s about our passage over the threshold, from the first phase of life to the next. It can be symbolic, through leaving town, or changing schools. It needs to be present but not at the forefront, and not put in a way that is irresolvable for the immature mind.

Life’s tragedy can be delivered in junior fiction in a way that enriches the story without overwhelming it, if it’s done well. Just think of Charlotte’s Web.

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In writing about loss for young people, you must, also offer hope. Just as we do in real life, seek a counterbalance. The aim is not to leave your young audience devastated. We have a responsibility to reveal the glimmer of light along with the darkness.

At the end of The Last Tree, I sought to redress the balance back into the light. I only wrote the triumphant scenes a couple of months ago, and now they’re among my favourites in the whole book.

Hope is restored, as it should be. Life does go on.

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Talk to you later.

Keep on Creating!

Yvette K. Carol

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‘Good stories are about the getting of wisdom; let your children grow up.’ ~ Jane Yolen

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

 

 

 

This week, at Toastmasters, I attempted to pull off my first ever roast. ‘A roast’ is a speech that relies on wit, humour and satire to ‘poke fun at a person in a good natured way.’ Can you imagine? I can’t think of too many speeches that would be harder to pull off. However, in the Toastmasters system, you choose your projects and most come in bundled sets, so when you take on a certain manual or a pathway you take on every challenge in that bundle. I chose Special Occasions Speeches (from the old paper manual system), not realizing that one of the projects therein was “The Roast.”

I have a terrible track record with humorous speeches, having bombed abominably once or twice.

In conversation, I can raise a laugh, but I still don’t know how to use humour in speeches. In my nervousness, I over do it. I’m just not that funny. So, I avoid the humorous speech contests each year like the plague, and I never attempt comedic speeches. I know my strengths and humour is definitely not one of them.

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When I discovered there was a roast among the projects in Special Occasions, I was quaking in my boots. I wanted to put the manual back, but it was too late, I was already three speeches in. So I’m going to tell you a little secret. I repeated project 2, five times over a period of five months. I couldn’t bear to do the roast. So I put it off by repeating the project I preferred, “Speaking in Praise.”  At first, I wondered if I could get away with it, because surely people would notice I was doing the same project.

Strangest thing. No one noticed.

I spoke in praise of Charlotte’s Stitches, I spoke in praise of my father, I spoke in praise of Korucare New Zealand, I spoke in praise of Sam (my son with Downs’ syndrome), and I spoke in praise of my grandmother. No one said a thing!

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I could have gotten away with it longer probably, but I made the mistake of mentioning to one of the other members, last week, that I was scared of doing the roast.

He said, “You can’t not do a project just because it’s hard. You’ve got to do it anyway!”

The gauntlet was down. I was determined I was going to write a funny speech. I would ‘do it anyway!’ I determined that this week, I would roast our most senior member and club treasurer, at our Toastmasters’ meeting.

Did I roast him? Yes. Was I successful? I don’t know. I can’t seem to do funny conversational. I go immediately to clown and cartoon, and it often falls flat. My first two jokes didn’t get much of a response and I already had that sinking feeling. Various audience members told me afterwards they enjoyed my roast. I did raise a few laughs, but not anywhere near what I’d expected. Now, I know for sure that I’m not that funny.

However, what I do know is that I am brave.

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I am so proud of myself for doing that roast.

That’s a good feeling to have about yourself.

I don’t like to stretch my neck out any more than the next person, but I notice that when I do take a risk sometimes it reaps dividends. So, accepting a challenge is worth the effort, once in a while.

I was petrified of trying to roast someone. I did not want to do it. I would have procrastinated forever, if I hadn’t been hustled out of my cave. Roasting someone was something so far out of my comfort zone it was a new frontier. Yet, I accepted the challenge and went and did it anyway. Sure it wasn’t perfect. Sure, I didn’t captivate everyone, one guy looked down the whole time I was speaking and didn’t look up till the end. Sure, I didn’t bring the house down. But I did go out on the “stage,” into the bright lights, and deliver a bloody roast.

I think that’s pretty cool.

What about you? Have you ever thought of joining Toastmasters, or some other club? Have you stepped outside of your comfort zones lately?

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Talk to you later.

Keep on Creating!

Yvette K. Carol

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Failures I consider valuable negative information – Dr. Goddard

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

It’s time for another group posting of the Insecure Writer’s Support Group! Time to release our fears to the world – or offer encouragement to those who are feeling neurotic. If you’d like to join us, click on the tab above and sign up. We post the first Wednesday of every month. Every month, the organisers announce a question that members can answer in their IWSG Day post. Remember, the question is optional!!!

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OPTIONAL IWSG Day Question: Whose perspective do you like to write from best, the hero (protagonist) or the villain (antagonist)? And why?

When I started writing my present series, The Chronicles of Aden Weaver, prior to 2008, I had only penned the protagonist’s story. Then, I took a writing course with New Zealand writer, Lindsey Dawson. I stayed behind after class one day. Lindsey drew a diagram of a single vertical line. “This is the main thread of your story, the protagonist’s point of view.” Then, she drew a number of other lines snaking up around the vertical line, spiralling around it and crossing back and forth. “These are your antagonistic forces. Sometimes they cross and create havoc. You need all these elements to write a story.”

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I had never thought about writing the antagonist’s story before then. Lindsey’s words opened my eyes. The more I looked at rogues in fiction and in film, the more I realized how vital it is to portray them convincingly. In fact, you could go so far as to argue, that crafting a credible, powerful enough villain is the most important part of crafting a narrative.

Alfred Hitchcock once said, “The more successful the villain, the more successful the picture.”

The idea of fleshing out the antagonist gave me licence to explore what was going on in the bad guys’ camp. And, when I finally did put out the first book in the chronicles, The Or’in of Tane Mahuta, it was presented from both Aden’s and Chief Wako’s point of view, and sometimes with Wako’s henchmen taking over the bad guys’ point of view.

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Which did I enjoy writing more? Writing Aden’s story was fun, however writing about the bad guys was much more fun. Why? I think it’s because Wako could do and say whatever the hell he liked, pardon my French. Antagonists do not have to tiptoe around the “P.C. brigade,” by definition they don’t care whether they’ve said the wrong thing or offended anyone. Antagonists don’t need to think of the repercussions. They can act first think later because they don’t care about the consequences of their actions. They’re rebels, they don’t need to play by the rules.

It reminds me of actors/actresses saying they like the bad guy roles best because they get to really go wild. Similarly, in writing the antagonistic elements of my story, I could let my imagination run rampant, conjuring Chief Wako and his evil minions, imagining what over-the-top thing he was going to say or do next.

It was a liberating feeling. Whenever I wrote the bad guys parts, I felt so free. So energized. Antagonists are famous for not following the norms of society or adhering to the moral codes that bind the rest of us. It was nice to take a break from the sanctioned code of conduct and ride along with a character who makes up his own rules.

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Bad guys are typically self-serving. We’re taught from a very young age to share, and that being selfish is the worst thing you can do. When I write the baddies, I can be as selfish as the little kid in me always wanted to be! Whoopee. That’s satisfying, let me tell you.

Although my rogue was a nasty guy at times, I grew to love him, because he was bold and brave, and an iconoclast. In fact, it was so much fun writing Chief Wako’s part that I had to tone it down at times for fear he would outshine the hero.

For the subsequent books, I followed the advice of my critique group and changed the books to a single point of view. I stopped writing the bad guys because I was advised that young readers find head hopping very hard to follow.

I missed writing the bad guys so much that I think in the next story I write, I’ll revert to multiple points of view again. I miss the villain too much.

Which do you prefer to write, hero or villain?

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Keep Writing!

Yvette K. Carol

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‘Nothing that happens to a writer – however happy, however tragic – is ever wasted.’ ~ PD James

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

 

It’s time for another group posting of the Insecure Writer’s Support Group! Time to release our fears to the world – or offer encouragement to those who are feeling neurotic. If you’d like to join us, click on the tab above and sign up. We post the first Wednesday of every month. Every month, the organisers announce a question that members can answer in their IWSG Day post. I usually start my posts apologizing for being a day late. This month, I apologize for being a week late. Sorry! I’m putting it down to the holidaze.

InsecureWritersSupportGroup

OPTIONAL IWSG Day Question: What are your favorite and least favorite questions people ask you about your writing?

Oh, this is a good one. Believe it or not, I’m most often asked about my income. I don’t know why, but people seem to think its okay to ask writers about their pay rates when it’s not a question normally asked of other professions. I guess people are fascinated by the idea of writing books. I’ve heard many authors say, that in making school visits, the question they get asked the most often is, ‘How much money do you make?’

I think of Jack Nicholson’s famous movie rant, “You can’t handle the truth!”

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People imagine they will be the next J.K. Rowling or Stephanie Meyers. People see the blinding success stories of people who write a book and sell millions and become famous. Whereas the truth is those elite writers who make the most money are in the top 5%. The rest of us need to keep our day jobs.

Whenever I talk about authors and making money on social media, I drag out a beloved quote by one of my fellow authors on the children’s collaboration, Kissed By An Angel. Ellen Warach Leventhal said her favourite response from a fourth grader was, “You work hard, you don’t know if you’ll ever get paid for it, and you aren’t rich? Man, not sure I want to do that.”

That’s right. The reality is not very romantic.

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In essence, that’s why millions of people try their hand at penning their first novel every year and why only a small percentage of them will ever attempt a second. They quickly realize the truth all long time writers know; there is no money in it. Think of an author as like being a musician or an artist, or an actor. You do the work for the love of it, because you can’t NOT do it, despite the fact the recompense is uncertain. You supplement your income with other things. You find ingenious ways to save your pennies, you grow your own fruit and vegetables, you shop at thrift stores, you recycle things, and you make life work.

You don’t do this job for the money.

When people ask what my yearly income looks like, I go pink. I can’t answer the question in any way that comes off making me look good. I can’t say, ‘I don’t make very much money from my books, and yet, I keep publishing them,’ or I’d look like a prize idiot. It’s hard to reply to this question in social settings. It’s a lose-lose situation, folks, so please don’t ask authors this question.

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My discomfort with this stinker is swiftly followed in second place by those who ask, ‘How many books have you sold?’

Now, come on people, do I ask you how much product you moved today? Do I ask you, how many lives you’ve changed? Or anything remotely in that vicinity. This question always makes me feel like being grilled on a hot plate. Just back away, now.

However, if we’re talking about my favourite questions to be asked, they would definitely be, ‘What inspired you to write your book?’ with ‘What’s your book about?’ Because then I’m being asked about my inner process and the creative life, which is my passion and my bliss. I can soar away into these higher thoughts and let my imaginative life come to the fore.

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Chasing the muse is always exhilarating to think about. I feel this sort of information is far more valuable to share, and is of greater service, because those who are truly called to write will take positive juice from it and use that to fuel their own writing endeavours. Then, one feels one is being of service. I would far rather speak to that than the money, because the only answer I have is, ‘I write for the love of it and make income in other ways.’ Hardly motivating.

What about you? What are your favourite and least favourite questions?

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Keep Writing!

Yvette K. Carol

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There is no other feeling like that.
you will be alone with the gods
and the nights will flame with
fire. Charles Bukowski

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

It’s time for another group posting of the Insecure Writer’s Support Group! Time to release our fears to the world – or offer encouragement to those who are feeling neurotic. If you’d like to join us, click on the tab above and sign up. We post the first Wednesday of every month. Every month, the organisers announce a question that members can answer in their IWSG Day post. Remember, the question is optional!!!

InsecureWritersSupportGroup

OPTIONAL IWSG Day Question: What are five objects we’d find in your writing space?

Optional IWSG Day Answer: A laptop, a pad of paper and a pen, a Penguin Pocket Thesaurus, and a small lamp.

A laptop

I used to say, back in the day, that I’d never write a story on a keyboard. I was a purist about the old fashioned way of writing on paper, as it had a feeling to it, and there was less interruption between my brain and the page. But, then, I finished writing a 300,000 word story longhand, and there were a heck of a lot of words to be transcribed into digital form.

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In fact, the job exhausted me, my sister, my friend’s daughter and my sister-in-law as well, before we finally got the behemoth manuscript typed out. And, after that experience, I swore I’d never write the old-fashioned way again. Far better, to just get over myself and put thoughts straight into digital form – to get over all the clanking technology between me and the words and simply concentrate on putting them on the page.

A pen and a pad of paper

That doesn’t mean, however, that I’ve given up on my beloved pen  and paper. It’s just they’ve taken second place in the hierarchy of things. I still work out all my plot steps and character niggles on a pad of paper with a pen, as well as my shopping lists and to-do lists. I don’t like gadgets too much. I distrust them somehow. I don’t do apps or smartphones, and I just don’t want to spend my life staring at my phone. I keep things simple as possible. And that’s where I function best.

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When I’m writing, I hop up every now and then to consult my pen and paper, as to what I intend to get done that day. As I go through the edits submitted by my critique buddies, I’ll jot down any comments made about overall story issues on another pad. These sorts of notes I keep close by the computer, and I’ll refer to them as I’m editing.

A Penguin Pocket Thesaurus

Again, I prefer the paper over the digital versions. Over the years, I’ve bought myself many different kinds of Thesaurus, as other writers will attest. These days, you can buy versions for writing every genre and even for all the emotions as well. I’ve bought myself some whopping Thesaurus/Dictionary tomes too, thinking ‘the more words the better.’ Yet, it never seemed to matter how much money I spent or how big and glossy the books were, I’d always end up reaching for the Penguin. I guess it comes down to being creatures of habit, and this works best for me.

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My Penguin Pocket Thesaurus is getting pretty yellowed and we’ll ‘thumbed’ now. And no matter how often I think ‘it’s probably not worth looking for a better verb,’ every time I look it up in the Thesaurus, I’ll always find a better choice. It helps keep my language lively and interesting, less repetitive.

A small lamp

I thought I was smart getting the latest LED lights put in throughout our old ’60’s style house. Very attractive and modern, I thought. Then, a few months ago, I read a scientific article put up on social media, by a very well respected friend of mine, that LED lighting is actually bad for your health in a number of ways.

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It instantly reminded me of my grandmother, who said, ‘they’re always saying something new gives you cancer. I say all things in moderation.’ Well, that’s as maybe, but I still don’t want to sit under an LED light the entire weekend that I’m working on my book. So, I bought a $10 lamp at the local shop which takes an incandescent light bulb, and I use that at the weekends instead.

Those are five things that are in my writing space.

What about you? What are your five objects?

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Keep Writing!

Yvette K. Carol

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We need to embody our inner awareness. To walk them out into the world. Express them through our choices and through our actions. – Terri Morehu

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

 

‘If the ending sucks, the book sucks.’ ~ Larry Brooks

As I neared writing the end of my third book in the trilogy, The Chronicles of Aden Weaver, I began to feel distinctly nervous. Yes, it’s great to write a series, and they’re especially popular in my genre, fantasy for young people, however after going on this gargantuan journey, how do you resolve it successfully? How do you bring the ending to a satisfying conclusion?

It’s difficult.

‘While there are plenty of structural criteria available to take us to the sequence of scenes that comprise the ending of a story, there is no paradigm or format for the ending itself’ wrote Larry Brooks.

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With every story I’ve written in the last thirty-five plus years, it’s the endings I’ve sweated over the most. There’s a laundry list of things to be ticked off and rounded up and you also have to make the ending count.

In writing a book, you have to answer the questions raised as well as the overall story question, you have to tie up the loose ends and bring everything to a resolution that has soul.

It’s what Larry calls, ‘the golden ring of moments.’

In writing a series, there are more story threads to be pulled together and an overarching plot to be completed. The ending needs to have even more impact when you’re resolving multiple books and rewarding real reader commitment.

There is so much pressure to get the ending perfect. But never fear, help is here.

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Here are some of the beats to help you get that all important closure in your ending:

*The hero enters the last act with the aim of vanquishing the bad guy, of overcoming their demons, to win the reward, to return home or in some other way reap the results and conclude their journey.

*The ending is more than just words, it has to deliver a sense of ‘satisfaction,’ that soothes the emotional needs of the reader as well as mental. Having built the readers empathetic bond with your characters, your duty as author is to take care of them to the last word.

*At the climax, in the worst moments, when the hardest choices are made, the hero must use the knowledge they have gained along the way, which has been tested and proved true.

*You also have to deliver that “punch to the gut” – whether good or bad – to the reader’s sense of experience, world view and hope. Some secret comes out, some revelation made, some information released, change, ultimate metamorphosis results.

*The hero is able to win against the force of opposition, and overcome their personal flaws.

*By doing this, they integrate into a new, improved person. They have mastered their own fate. They become complete.

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It’s no small feat, in other words. And, I usually approach my books’ conclusions with great trepidation.

Poet and children’s author, Helen Dunmore said, ‘Reread, rewrite, reread, rewrite. If it still doesn’t work, throw it away. It’s a nice feeling, and you don’t want to be cluttered with the corpses of poems and stories which have everything in them except the life they need.’

To inject life and to get the ending right for the third book in my series, I literally walked the halls of my house last weekend. I paced around, reading the last two chapters aloud and editing then reading over and over. I must have rewritten the last paragraph eight times. In the end, I got it written.

To write endings that count, there can be no extra words, no loose ends left flapping, every moment must be part of the story’s resolution.

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Of those final paragraphs, Larry Brooks, urges writers to, ‘Deliver a moment when the reader feels as if you are writing about them. A moment when you’ve reached out through the pages and touched their heart and mind, and their soul. A moment that reminds the reader why they love to read.’

No pressure, right?

With my book, The Last Tree, every question had been answered; I wanted to do the series justice, to make the ride through three books worthwhile. I wanted to strike the right note, to really make it feel like our hero, Aden, had transcended who he was before and become a radiant new being. I wanted to give closure and yet, the feeling of hope. Has it worked? Only time and the readers will tell.

How about you? How do you finish your stories and hone your endings? Do you find them hard to write?

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Talk to you later.

Keep on Creating!

Yvette K. Carol

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‘Finish what you’re writing. Whatever you have to do to finish it, finish it. ~ Neil Gaiman
Repeat.Authors are crazy.

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

It’s time for another group posting of the Insecure Writer’s Support Group! Time to release our fears to the world – or offer encouragement to those who are feeling neurotic. If you’d like to join us, click on the tab above and sign up. We post the first Wednesday of every month. Every month, the organisers announce a question that members can answer in their IWSG Day post. Remember, the question is optional!!!

InsecureWritersSupportGroup

OPTIONAL IWSG Day Question: How has your creativity in life evolved since you began writing?

I was seventeen when I began writing. Fresh out of school, I was a teenage mum with a newborn baby to care for. My boyfriend and I had moved out of home, away from our families into the city. In the early eighties, the days before personal cell phones and computers, this meant being totally isolated. It’s hard to imagine, now, isn’t it. But, we were on our own in the big, bad world. I studied for my bursary year by correspondence, while washing forty nappies every day by hand in the bathtub. As my boyfriend was in his first year as an apprentice photolithographer, he only made $96 a week and that was all we had. I bought bulk packs of macaroni and different powdered flavouring and made macaroni cheese with a different flavour added each night. We had one car, and we lived in a dingy apartment building. Our flat was infested with cockroaches, and at the front and back of the building it was nothing but tarmac, there was no view, no garden or green area of our own.

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That scenario was the perfect breeding ground for the artist to come forth. I had to escape somehow. The cheapest, simplest way to escape my life circumstances was to pick up a pen and write.

When my son was sleeping, I wrote children’s stories and let my imagination go wild. I didn’t ‘know how to write’ and the stories were pretty bad, looking back. I remember a well-known writer saying once, ‘Every writer has those first manuscripts lying in a bottom drawer that should never see the light of day.’ The writing was crap, and yet, I was trapped in a poor, isolated and uninspiring life, and writing stories gave me the hope I needed. It was like self therapy. Every day, I expressed myself creatively through the written word and by doing so experienced that new, more inspiring reality. This became my outlet, my sunlit garden, and the saving of me.

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Every day, whenever I got the chance, I’d pick up the story and write a little more. I’d climb through the green window into the meadow beyond, and there I’d be free.

As my son grew up, our life circumstances began to improve and have their own flowering.

My writing changed too. With each writing workshop, course, conference and lecture I attended, my understanding of the craft developed. My work gained more structure, more form and substance.

My first born son became an adult, and suddenly, I became more independent, I had more freedom. By the nineties, I had a job. I had money, and I was still writing in my spare time. There was the beautiful fruit of my stories developing into purer forms.

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Every day, whenever I got the chance, I’d pick up the story and write a little more. I was still drawing and painting my characters in tandem with writing the prose.

I remarried and had two more sons. We had a home with a lovely garden. As my life circumstances and finances settled, I didn’t have a desperate desire to escape my world anymore. In order to continue to work at a steady pace on my stories, I had to learn discipline. Just as I had to attend to the grown-up business of marriage, house maintenance and child-rearing, I also had to learn B.I.C. Butt In Chair is hard to do as it takes immense concentration. I accepted the challenge.

Every day, I’d sit and write a little more. I decided to stop drawing my own illustrations, and I focussed on the words.

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I gravitated to writing middle grade fiction twelve years ago, and it felt like I’d found my niche.

Writing has become an integral part of my life. I have come to love every step of the novel writing process. I don’t have an agent or a publisher. I’m my own boss and in the last three years, I’ve self published two books and had two short works included in two others.

My creativity in life has definitely evolved since I started writing? How about you, has yours?

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Keep Writing!

Yvette K. Carol

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“Tell me, what is it you plan to do / with your one wild and precious life?” Mary Oliver

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

Beware the dreaded terror that is the read-aloud edit! Everything they say about it being a back-breaking labour is true. These days, you often hear the advice to read your own work aloud. This is primarily because, no matter how obvious it seems, the fact remains that stories were made to be told, to be heard by the reader’s inner ear, and to be shared with others. If a piece of prose can’t pass the read-aloud test, it’s dead in the water. And yet, reading aloud your own story, especially if it’s a full length novel, will crush your soul beneath its heel.

I’m currently three quarters of the way through a read-aloud edit of my next middle grade novel, and I cannot tell you how many times I’ve wanted to give up. Labours of Hercules, on steroids.

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You see, three weeks ago, after having edited my work-in-progress, The Last Tree, a gazillion times, I decided it was time to do the dreaded read aloud edit. By the end of the first hour of recording myself, I was drained of all energy and, by the end of the first day, the will to live.

Each weekend, that I’ve gotten to work on it again, I’ve been surprised afresh by how it makes me want to claw my own hair out by the roots. It’s tedious, arduous and gruelling. No part of reading aloud 67,634 words comes easy. In fact, I have discovered a whole new appreciation for voice artists and especially those who do the audio novels. It takes power and endurance and patience. You read page after page until you think you’re going to go mad. And, then you find you’ve only read one chapter and there are still fifty more ahead.

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The reason you keep going through this undeniable hard slog, is that there’s such a big payoff. You get this incredible transformation that starts to come over the work that no other editing technique can touch.

The reason you keep going despite the mental and physical anguish is that when you read aloud, you hear your story anew. When you listen to the recording to edit the story, you hear the prose in a new way again. This effectively brings to light every flaw. It is quite special and unique in its singular transparency.

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The reason you keep going is because you discover where the story doesn’t flow as well as it should, and you swiftly knock a lot of the bumps out.

The eleven rewards I’ve identified so far in reading aloud your own work:

  1. You notice extraneous words, when sentences are too long
  2. You hear the repetitions, the favoured ways of saying things, favoured words or ‘tics’
  3. You hear where the dialogue is popping and where it falls flat
  4. You hear where you need to name who is doing what to prevent the reader getting lost37536386_10155480627157212_1260027620918034432_n
  5. It shows up flaws in rhythm, words that when spoken in sequence trip up the tongue
  6. You become aware of leaps in states of consciousness, where you as the writer have made assumptions things are clear, yet you have failed to fill in the gaps. You see the spots where there are not enough words to paint the scene
  7. It brings out patterns in actions (like ‘nodded’ and ‘shook their head’ or ‘rolled their eyes’)
  8. You see where some parts of the story have heft, they’re meatier, while other parts are weaker and the material too thin
  9. You discover where you’ve put the cart before the horse and you have things out of sequence, so you have stated the decision first and the options and problem solving second40661154_1781118765330897_3490029191380860928_n
  10. You’ll hear where too many words have been used in a sentence. You’ll discover sentences so long and convoluted you can’t breathe, and they’ll make you hate your own writing with a passion
  11. You can feel the drag where some parts of the story are boring, or could be worded better, and sometimes, you can even hear where punctuation is missing

As you can see, it is well worth the sweat, blood and toil, as well as the inevitable midnight oil. Despite the fact it has been a painful, torturous process, so far, reading my book aloud has also been the most effective editing I’ve done. I might even be tempted to do it again, even though I quail at the thought!

Am I crazy? Yes, possibly.

What about you, have you ever tried the dreaded read aloud edit? Did you live to tell the tale?

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Talk to you later.

Keep on Creating!

Yvette K. Carol

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“May your dreams be larger than mountains and may you have the courage to scale their summits.” -Harley King

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com

I’ve been working on book three, The Last Tree, in my series, The Chronicles of Aden Weaver, for ten months. In the last two weeks, I have made some huge strides forward, which have entailed two joyous editing experiences, one weekend after another. It put me in mind of the fact that a lot of times, we writers hear about mistakes and pitfalls to avoid. I thought I’d like to share two of the delights of editing a novel.

I like to keep record of how many times I’ve done something—it’s the dad in me, what can I say?—so that’s how I know, I was on the twenty-ninth edit of The Last Tree, when I experienced that holy of holies, the ‘change of mind.’

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This mythical creature, the change of mind, or change of heart, is what happens when you disengage from your normal way of looking at your writing, and you get what is akin to a third-person perspective. It’s the moment when, if you’re lucky, as the writer you get to see and experience your work as if you were the reader. I had been editing for ten months and had done twenty-nine rounds of the material before I had my lightning strike and was able to read the copy in a whole new way.

Jimmy Braun, photo

Jimmy Braun, photo

That was two weeks ago. I really did feel lucky. I was changing swathes of the story from the second half to the end. I had been steadily bringing the word count down all year, from the overblown 90,845 I started with, to a neater 67,000 words. But that weekend, I was scything out pages of text, losing two whole chapters between Friday and Sunday. Then, at the same time, I couldn’t help myself adding new words, as I saw gaps that needed closing, so the copy ballooned again to over 68,000. And overarching it all was this brilliant feeling of being able to see clearly to the heart of the story, and really see what needed to be changed. The whole weekend was infused with creative imagination.

Then a week ago, when I went back to editing The Last Tree, the experience was completely different.

Last weekend, I’d hoped to taste that particular joy again, that elusive ethereal moment of magic. Every writer or artist knows this; it’s been called being touched by ‘the muse.’ There is an element to it of ‘otherness,’ when you’re immersed in your craft, of these magic moments, of being suspended from earth, of being delivered the ideas and words, of being able to weave worlds.

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But, last weekend it wasn’t to be. I could feel the difference as soon as I started working. This wasn’t about inspiration it was about the building blocks. The second half of The Last Tree had bothered me all year, yet, I just couldn’t seem to get my head around it. I knew something needed fixing. I had tried a few solutions: chopping the prose up a few times, rearranging the order, I took out scenes and added new ones, however a niggling feeling – “the little writer’s voice” – kept nagging me it still wasn’t right.

Last weekend, it was about getting the structure of these final scenes figured out, nailing down the nuts and bolts of the climactic scenes and the resolution of all the story threads. On the Friday night, I sat with a list of the marks I needed to hit, with regards structure, on one side of my computer, and a list of the general editing changes I needed to make, on the other side of my computer.

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By Sunday night, I had re-engineered the final acts of the story. I had welded and hammered them into a new shape. I had rebuilt it better than before. It was a thing of beauty. And, I knew that it was right this time, because of how I felt in my gut and the fact that the little writer’s voice had been silenced.

Only in the nick of time too, as my critique group, The Gang of Four, were nipping at my heels. The girls and I have been swapping chapters since February. Little did they know, I’d been sweating it all year because I knew the end scenes weren’t finalised. So I’m doubly glad to have had a couple of weekends like these, where the flow picked me up and carried me to the finish.

Yeeha! The old adage of B.I.C (Butt In Chair) really works.

Have you had any joyous writing experiences you want to share?

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Talk to you later.

Keep on Creating!

Yvette K. Carol

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Haruki Murakami says, ‘The good thing about writing books is that you can dream while you are awake.’

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Subscribe to my Newsletter by emailing me with “Newsletter Subscription” in the subject line to: yvettecarol@hotmail.com