Lots of useful articles and interviews have appeared online in the last week. Here are some of the best.
AGENTS:
An article on some agents' pet peeves in the opening pages of a novel.
http://www.guidetoliteraryagents.com/blog/Agents+Chapter+1+Pet+Peeves.aspx
Agent Laura Bradford is interviewed here on Wednesday, August 20th.
http://ninc.com/blog/index.php
A NEW CRITIQUE PARTNER MATCH SITE
Crit Partner Match, all genres
http://critpartnermatch.ning.com
PUBLISHING TERMS
The Bookends Agency blog defines publishing terms, Thursday, August 21st
http://bookendslitagency.blogspot.com/
ON THE SILLY SIDE
The Bulwer-Lytton Winners of 2008
An international literary parody contest, the competition honors the memory of Victorian novelist Edward George Earl Bulwer-Lytton (1803-1873). The entrants are challenged to submit bad opening sentences to imaginary novels.
See the winners here:
http://www.sjsu.edu/faculty/scott.rice/blfc2008.htm
Monday, August 25, 2008
Monday, August 18, 2008
Sex and the Single Space Alien, WORLDBUILDING
Alien love interests are a tricky business, especially if the author wants to have sf readers enjoy her book instead of tossing it across the room. You also have to deal with those of us with logical minds.
Aliens, according to many scientists, probably won't look like humans. You can create a reason why aliens do look like humans if you want to. I did for my race, the N'Videri in THE ONCE AND FUTURE QUEEN.
In my worldbuilding, the N'Videri protected and nurtured those races who looked like them and pushed evolution for bipeds on certain planets so that they would have living camouflage for their own secretive presence in space. Humans, unlike many space races, were protected from conquest or self-destruction so they went safely into space.
It is extremely unlikely that a human and alien could produce a child. Human DNA has more in common with Earth grass DNA than it would have with any alien.
Alien differences would also make breeding unattractive. For example, find two old pennies that are made of real copper. Wash them really well then put them in your mouth for five minutes. The seriously nasty taste is what kissing Spock with his copper-based blood would taste like.
Aliens that are essentially humanoid forms of Earth animals have their own problems. Fish reproduce outside of the body. (The female lays the eggs, and the male dumps his sperm on them then.) That's not exactly wild or possible sex for a human female. Lizards and snakes have a much cooler body temperature than we do. Part of the sexual excitement of the act involves heat. A cold-blooded male in a hot-blooded female would be uncomfortable for both parties.
Aliens based on mammals have the danger of bestiality to be considered. Most of us are repelled rather than excited by reading about a human sexual encounter with a dog, cat, horse, or whatever. Werewolves and other were-animals also have this problem unless they change into human form for sex.
I'm sure some people get their sexual buzz from all the above, especially in erotica which has little to do with logic or scientific accuracy and probably shouldn't have, but any writer who wants their books read outside of a narrow category of readers has to consider such things.
ASK ME QUESTIONS Do you have a writing question? Please email it to marilynnbyerly@aol.com, and I'll answer it on this blog.
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ByerlyWriting-subscribe@yahoogroups.com .
Aliens, according to many scientists, probably won't look like humans. You can create a reason why aliens do look like humans if you want to. I did for my race, the N'Videri in THE ONCE AND FUTURE QUEEN.
In my worldbuilding, the N'Videri protected and nurtured those races who looked like them and pushed evolution for bipeds on certain planets so that they would have living camouflage for their own secretive presence in space. Humans, unlike many space races, were protected from conquest or self-destruction so they went safely into space.
It is extremely unlikely that a human and alien could produce a child. Human DNA has more in common with Earth grass DNA than it would have with any alien.
Alien differences would also make breeding unattractive. For example, find two old pennies that are made of real copper. Wash them really well then put them in your mouth for five minutes. The seriously nasty taste is what kissing Spock with his copper-based blood would taste like.
Aliens that are essentially humanoid forms of Earth animals have their own problems. Fish reproduce outside of the body. (The female lays the eggs, and the male dumps his sperm on them then.) That's not exactly wild or possible sex for a human female. Lizards and snakes have a much cooler body temperature than we do. Part of the sexual excitement of the act involves heat. A cold-blooded male in a hot-blooded female would be uncomfortable for both parties.
Aliens based on mammals have the danger of bestiality to be considered. Most of us are repelled rather than excited by reading about a human sexual encounter with a dog, cat, horse, or whatever. Werewolves and other were-animals also have this problem unless they change into human form for sex.
I'm sure some people get their sexual buzz from all the above, especially in erotica which has little to do with logic or scientific accuracy and probably shouldn't have, but any writer who wants their books read outside of a narrow category of readers has to consider such things.
ASK ME QUESTIONS Do you have a writing question? Please email it to marilynnbyerly@aol.com, and I'll answer it on this blog.
JOIN MARILYNN'S YAHOOGROUPS: Receive the contents of this blog by joining Marilynn's Yahoogroup. To join, send a blank email to
ByerlyWriting-subscribe@yahoogroups.com .
Monday, August 11, 2008
Killing Off Characters
In romance a writer shouldn't kill off a favorite secondary character unless it's absolutely necessary. Romance is essentially the fantasy of happily ever after, and death of a loved character jars the reader's expectations.
If a nice character dies, it should be a noble death to save someone else's life, not a senseless death. The finest example of this is Sidney Carton in Dickens' TALE OF TWO CITIES.
Science fiction, fantasy, and mystery have a harder edge, and readers are more willing to accept a character's death. In fact, if no one dies, many sf and fantasy readers consider that a flaw in believability.
I must admit to an intense dislike of having the major character's longtime love interest killed, not only because I become attached to the character, but also because this is often writer laziness at its worst.
Usually, the love interest softens the major character, and the writer doesn't want any softness or mushy stuff. (Oh dear, someone might think I write those stupid romances so I'd better kill the love interest!) To bring the main character back to the way he or she was at the beginning of the series, the writer kills the love interest.
Of course, the most suicidal thing a writer can do in any genre novel is kill a beloved fictional pet or child. That will definitely drive readers away in droves.
If a nice character dies, it should be a noble death to save someone else's life, not a senseless death. The finest example of this is Sidney Carton in Dickens' TALE OF TWO CITIES.
Science fiction, fantasy, and mystery have a harder edge, and readers are more willing to accept a character's death. In fact, if no one dies, many sf and fantasy readers consider that a flaw in believability.
I must admit to an intense dislike of having the major character's longtime love interest killed, not only because I become attached to the character, but also because this is often writer laziness at its worst.
Usually, the love interest softens the major character, and the writer doesn't want any softness or mushy stuff. (Oh dear, someone might think I write those stupid romances so I'd better kill the love interest!) To bring the main character back to the way he or she was at the beginning of the series, the writer kills the love interest.
Of course, the most suicidal thing a writer can do in any genre novel is kill a beloved fictional pet or child. That will definitely drive readers away in droves.
Monday, August 4, 2008
Market news and updates
I've been reading many of the blogs about RWA National which was held in San Francisco. Few have been more than "my feet hurt" and "I met this person or did this," but I have found this interesting comment on the paranormal market courtesy of agent Kristin Nelson. You'll find it here: http://pubrants.blogspot.com/ It's the July 31st blog.
In a blog last week, Jessica Faust of Bookends talks about her views of what is happening in the romance market. It's well worth a read. You'll find it here: http://bookendslitagency.blogspot.com/
If I find more market news in blogs, I'll pass it along.
A science fiction and fantasy editor for Del Rey, Liz Scheier, is interviewed here: http://www.ninc.com/blog/index.php/archives/meet-senior-editor-liz-scheier
PAST POSTS UPDATES:
As luck would have it, PSYCHIC KIDS disappeared off the A&E schedule right after I talked about it as a research source for psychic characters. I've learned that it will be back August 9th. It is also available at iTunes. You can find information here: http://www.aetv.com/psychic-kids/ Click on the schedule button for more showings.
If you'd like to read an author who gets it right with a Southern setting, read Charlaine Harris' Sookie Stackhouse series. Every element of Sookie's upbringing and the Southern life and its "rules" is pitch perfect. This author obviously writes what she knows.
In a blog last week, Jessica Faust of Bookends talks about her views of what is happening in the romance market. It's well worth a read. You'll find it here: http://bookendslitagency.blogspot.com/
If I find more market news in blogs, I'll pass it along.
A science fiction and fantasy editor for Del Rey, Liz Scheier, is interviewed here: http://www.ninc.com/blog/index.php/archives/meet-senior-editor-liz-scheier
PAST POSTS UPDATES:
As luck would have it, PSYCHIC KIDS disappeared off the A&E schedule right after I talked about it as a research source for psychic characters. I've learned that it will be back August 9th. It is also available at iTunes. You can find information here: http://www.aetv.com/psychic-kids/ Click on the schedule button for more showings.
If you'd like to read an author who gets it right with a Southern setting, read Charlaine Harris' Sookie Stackhouse series. Every element of Sookie's upbringing and the Southern life and its "rules" is pitch perfect. This author obviously writes what she knows.
Tuesday, July 29, 2008
Write Where You Know. CRAFT
Recently, my mom found three glaring errors in the first page of a novel she was reading. The first scene in the book was at a beach we've visited a number of times, and the author obviously hadn't because most of her physical details were completely wrong.
I've spotted innumerable place mistakes in books, as well. Civil War slaves hid in kudzu that wouldn't be introduced to America until the Twentieth Century, locals in the North Carolina mountains were called crackers, trees bloomed in the wrong month, and so forth.
Errors like this make me paranoid about setting my books in places I've never been, and I research like crazy to make certain I get it right. I also try to get someone familiar with the territory to read through my descriptions.
Even worse than errors, however, is the danger of being patronizing. I've read novels where the author's contempt for an area was obvious in the stereotypes and misinformation. In other words, don't write about rural Georgia if all you know about the area is a few episodes of THE DUKES OF HAZARD you held your nose through.
If you're not willing to get it right, set your novel where you know.
REMINDER: August 1st is the final day to register for my “The Big Question: How to Create a Powerful Novel from a Few Ideas and One Big Question" workshop. To learn more go to
http://marilynnbyerly.com/marilynnbyerly/thebigquestionwr.html
I've spotted innumerable place mistakes in books, as well. Civil War slaves hid in kudzu that wouldn't be introduced to America until the Twentieth Century, locals in the North Carolina mountains were called crackers, trees bloomed in the wrong month, and so forth.
Errors like this make me paranoid about setting my books in places I've never been, and I research like crazy to make certain I get it right. I also try to get someone familiar with the territory to read through my descriptions.
Even worse than errors, however, is the danger of being patronizing. I've read novels where the author's contempt for an area was obvious in the stereotypes and misinformation. In other words, don't write about rural Georgia if all you know about the area is a few episodes of THE DUKES OF HAZARD you held your nose through.
If you're not willing to get it right, set your novel where you know.
REMINDER: August 1st is the final day to register for my “The Big Question: How to Create a Powerful Novel from a Few Ideas and One Big Question" workshop. To learn more go to
http://marilynnbyerly.com/marilynnbyerly/thebigquestionwr.html
Tuesday, July 22, 2008
Writing a Psychic Character, CRAFT
Are you psychic? Do you see ghosts?
Me neither. But I write these characters.
One of the ways I try to get into the head of characters like this is research.
Right now, I'm watching a nonfiction series on A&E called PSYCHIC KIDS. Real life kids with psychic abilities are brought together with an adult psychic and a child psychologist who specializes in psychic kids, and they are helped to come to terms with their gifts.
The parents are also helped.
Most of the kids are terrified by spirits who have harassed them for years, and they are afraid to sleep. Some are physically ill from anxiety and stress. Yet they have nowhere to turn except for parents. They are afraid to talk to friends because they will be ostracized, and parents warn them not to talk to other adults. They tend to be loners.
The parents are terrified, as well. They are unable to protect their kids from the ghosts, and the normal routes to help -- doctors, teachers, and ministers -- are closed to them because they fear their children will be labeled as mentally ill and medicated into zombies. They fear that their children could be taken from them by social services who won't believe the child's true problem.
The psychic helps the kids come to terms with their gifts and teaches them to take away the fear, and the psychologist teaches the parents how to cope with their psychic children. The children also develop relationships with the other psychic kids so they no longer feel alone or like freaks.
How would I use this information? A child character is easy enough to create after watching these children. So would a parent of a psychic child.
Now let's extrapolate this information and imagine an adult who had a childhood like this. Fear of discovery would often be a major influence on an adult. She wouldn't trust easily because most people who find out about her gift consider her a freak. Authority figures would automatically be distrusted. Trust and the need to be accepted for what she is would be the central emotional issues in a romantic relationship.
But what if the child grew up being totally open about her gift or if she "came out" as a psychic as an adult?
This character would be very comfortable in her own skin. She'd know herself very well. Her sense of being apart from others would manifest itself in a certain flamboyance -- a look at me I'm different and I don't care what you think attitude.
She would probably see her abilities as a gift rather than a curse, and she would use that gift to help others.
In a romance, she would have problems thinking of changing to help the relationship work because she's worked so hard to be who she is. "Me" has always been more important than "us."
This extrapolation isn't the only way to see adult psychic characters, but it does give you a start on writing a character different from yourself.
If you have no reality source for your character's background, you will have to find a real world analogy.
For example, a child who knows he's gay at an early age would be an analogy of a psychic character. Many is society view both with alarm, and secrecy is often the choice made. A writer would research the problems and emotional toll of being a gay child then use that information to understand a psychic child.
No matter how unusual or magical a character is, the author must use her knowledge of what makes a certain kind of person tick to make that character believable to the reader.
Me neither. But I write these characters.
One of the ways I try to get into the head of characters like this is research.
Right now, I'm watching a nonfiction series on A&E called PSYCHIC KIDS. Real life kids with psychic abilities are brought together with an adult psychic and a child psychologist who specializes in psychic kids, and they are helped to come to terms with their gifts.
The parents are also helped.
Most of the kids are terrified by spirits who have harassed them for years, and they are afraid to sleep. Some are physically ill from anxiety and stress. Yet they have nowhere to turn except for parents. They are afraid to talk to friends because they will be ostracized, and parents warn them not to talk to other adults. They tend to be loners.
The parents are terrified, as well. They are unable to protect their kids from the ghosts, and the normal routes to help -- doctors, teachers, and ministers -- are closed to them because they fear their children will be labeled as mentally ill and medicated into zombies. They fear that their children could be taken from them by social services who won't believe the child's true problem.
The psychic helps the kids come to terms with their gifts and teaches them to take away the fear, and the psychologist teaches the parents how to cope with their psychic children. The children also develop relationships with the other psychic kids so they no longer feel alone or like freaks.
How would I use this information? A child character is easy enough to create after watching these children. So would a parent of a psychic child.
Now let's extrapolate this information and imagine an adult who had a childhood like this. Fear of discovery would often be a major influence on an adult. She wouldn't trust easily because most people who find out about her gift consider her a freak. Authority figures would automatically be distrusted. Trust and the need to be accepted for what she is would be the central emotional issues in a romantic relationship.
But what if the child grew up being totally open about her gift or if she "came out" as a psychic as an adult?
This character would be very comfortable in her own skin. She'd know herself very well. Her sense of being apart from others would manifest itself in a certain flamboyance -- a look at me I'm different and I don't care what you think attitude.
She would probably see her abilities as a gift rather than a curse, and she would use that gift to help others.
In a romance, she would have problems thinking of changing to help the relationship work because she's worked so hard to be who she is. "Me" has always been more important than "us."
This extrapolation isn't the only way to see adult psychic characters, but it does give you a start on writing a character different from yourself.
If you have no reality source for your character's background, you will have to find a real world analogy.
For example, a child who knows he's gay at an early age would be an analogy of a psychic character. Many is society view both with alarm, and secrecy is often the choice made. A writer would research the problems and emotional toll of being a gay child then use that information to understand a psychic child.
No matter how unusual or magical a character is, the author must use her knowledge of what makes a certain kind of person tick to make that character believable to the reader.
Monday, July 21, 2008
For intrique writers
This is courtesy of a good friend who writes for Harlequin Intrigue. Feel free to clip it and pass it along to anyone going to RWA National who may be interested.
"Sat., Aug. 2nd, there's going to be an Intrigue Meet & Greet in the
Harlequin hospitality suite (Sierra E), from 3:30-4:30 pm. This will
be an open session inviting unpublished writers to meet with the editors
and, we're hoping, the authors who've made Intrigue so popular. So, if
you can please stop by and say hello as well as spread the word to your
chapters, friends, critique partners, etc. about our session and that
we're actively looking for new authors, I'd truly appreciate it. This
is a great opportunity to generate buzz and excitement for the line.
Plus, there will be cupcakes and cookies!" -- Allison Lyons, Editor
REMINDER: Marilynn's online course in August is “The Big Question: How to Create a Powerful Novel from a Few Ideas and One Big Question." To learn more, go here
http://marilynnbyerly.com/marilynnbyerly/thebigquestionwr.html
"Sat., Aug. 2nd, there's going to be an Intrigue Meet & Greet in the
Harlequin hospitality suite (Sierra E), from 3:30-4:30 pm. This will
be an open session inviting unpublished writers to meet with the editors
and, we're hoping, the authors who've made Intrigue so popular. So, if
you can please stop by and say hello as well as spread the word to your
chapters, friends, critique partners, etc. about our session and that
we're actively looking for new authors, I'd truly appreciate it. This
is a great opportunity to generate buzz and excitement for the line.
Plus, there will be cupcakes and cookies!" -- Allison Lyons, Editor
REMINDER: Marilynn's online course in August is “The Big Question: How to Create a Powerful Novel from a Few Ideas and One Big Question." To learn more, go here
http://marilynnbyerly.com/marilynnbyerly/thebigquestionwr.html
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