Too Many Words

I am frustrated trying to make the necessary cuts to my novel. I have to cut about 30% of what I pantsered out, not just because the novel is way too long, but because the pacing's off.

I think I have pretty good tension in the first 70 pages or so (wherein I blow up the world our hero's on) but then it dissipates in pages and pages of talking. I have the Colleen Anderson quote "Characters talking about doing things is not the same as characters doing things" posted over my workstation, but the book is kind of about how the hero keeps jumping to the wrong conclusions, so he spends a lot of time explaining his wrong theories. This may not have been the best premise for an action adventure novel.

Listening to Jonas Saul's presentations on pacing at this year's When Words Collide re-motivated me to go back in to tackle those problems. I know I have to keep things moving, which means losing everything that isn't action. But every time I try to take out a chunk, it means losing one of the subthemes (which are kind of the point of the book), or I'm chopping one of the key characters (the love interest?!), or the logic of the underlying mystery gets lost. Something has to go, but every time I tug on any particular string, the whole thing unravels.

That's the problem with being a panster: every line flows logically from the one before and leads logically to the next line. The story develops though each of those moments as lived by the character. Now, as I go back to try to impose some structure, cutting out scenes doesn't just mean killing my darlings, it means interrupting that flow and therefore the logic of hero's actions/ reactions/ motivations.

I have no problem editing other people's books but it's impossible to edit my own. I'm okay chopping out scenes I loved writing (especially when one of my beta readers said this scene was NOT funny and this other one was so boring she contemplated killing herself rather than read to the end of it--more motivational feedback than the more tactful and therefore vague comment of "the elevator scene drags a bit" from other beta readers :-) ) but it's hard to see how the pieces can fit back together when you've ripped out random pieces from the puzzle.

It's like...having to rewrite the whole thing. Almost from scratch. But that would be, you know, work. Like a lot of work! Really, it's HARD....

*Sigh* As an editor, it drives me crazy when I have clients who are one draft away from being publishable but don't do what I tell them because it's too much work or wouldn't be as fun as starting a new book. I have no problem bossing other people, but apparently, I am not the boss of me.

[I have managed to stop myself from starting any of the other twelve novels in my head until I finish this one--but there's a reason I've been pumping out so many short stories and flash lately...]

It's tempting to send this off to an editor to get them to do it for me, but I know (thanks to my beta readers) it's still too rough. It has to be at least polished enough for the editor to see what I'm trying to do. And...I just have to stop being lazy if I'm serious about getting this out there. So, I just have to put my nose to the grindstone. As soon as I finish this post.

The Elixir of Life

 I enjoy CBC's Grown-ups Read What They Wrote As Kids,  so in the same spirit, here is my major creative writing assignment from Grade 6*.

Clearly, a budding genius even then.

I'd kept it all these years partly because I was raised by a hoarder who taught me one must never throw anything of that sort out; and partly because I was aware that I would someday become a teacher and would need to calibrate my expectations for students by comparing their work with mine at a similar age, as opposed to against the great masters of literature, which seemed to me at the time to be the bar. I didn't become a Grade 6 teacher, but I did have daughters, both of whom were greatly relieved that no matter how bad their own Grade 6 writing, they were considerably better than their dad. I also kept all my university papers, and looking back at those periodically has kept me humble and a better marker. "These kids today don't know anything!" is a common refrain, but people forget how they didn't know much as an undergrad either--kind of the point of going to university, really.

I also clearly remember being concerned my teacher would think I had plagarized from Marion Zimmer Bradley's The Colors of Space which I had read as I started outlining for the assignment and by which I was greatly inspired. I had only discovered Science Fiction half-way through Grade 6, and Bradley's was perhaps the second or third book of that sort that I had read, so my limited familiarity with the field meant that I thought I was copying by having, you know, spaceships. In retrospect, I'm fairly certain anyone would be hard-pressed to find any parallel between the two works.

New Short Story: Deep Dive

My short story "Deep Dive" is posted on Ariel Chart International Literary Magazine at https://www.arielchart.com/2020/07/the-deep-dive.html

My thanks to Senior Editor Jana Begovic for choosing it.

Drabble

Four rejections this week, and then a fifth as I was posting this, but one acceptance/publication this week:

My first published drabble (a drabble is a story exactly 100 words long) is up at https://thedrabble.wordpress.com/2019/06/30/pillow-talk/

Writing Drabbles and other types of flash and micro fiction is a good way to 'tighten' one's writing. Editors and agents often say things like, "this is good, it just needs to be tightened up a bit" but it's not always obvious to the author what that means exactly. As I try to edit down my novel by 25% without actually cutting any scenes, paring down my verbose style to something a little 'tighter' is what's required. The discipline of writing a story in a hundred words, or even 1000 words for flash, helps develop the skills necessary to be more concise...

Try it! Harder than it looks!

Cover Reveal: The Group of Seven Reimagined

Yesterday, I got to see the cover of The Group of Seven Reimagined: Contemporary Stories Inspired by Historic Canadian Paintings.

It's available now for pre-order on Amazon.ca (and not, apparently, available outside of Canada except by special arrangement)—I'm guessing a question of obtaining copyright permission for the paintings.

My story, "Iceberg", was my first piece of flash fiction. When I was first approached by editor Karen Schauber to participate in this project, I objected that I didn't write flash fiction. She insisted, however, so I agreed to at least try, and to my surprise, ended up drafting five stories for her to choose from. After choosing "Iceberg" she really helped me shape its final form. I learned so much from working with Karen, that I wrote a second flash piece using what she taught me, and came in second in Pulp Literature's Hummingbird (flash fiction under 1000 words) contest. After that, I was sort of hooked.

I also quickly realized that the discipline I learned writing within very strict word limits of 1000, or 500, or 100 words could be transferred to my novel revisions. I was able to really tighten up the writing in my somewhat bloated novel, by applying what Karen had shown me.

But all that aside, I'm really honoured to have been able to participate in this fabulous project. Being included in the ranks of these other writers, and associated with these classic paintings—yeah, it doesn't get better than this!

Runner-Up for Pulp Literature's Hummingbird Flash Fiction Prize

The Current Issue of Pulp Literature.

Very pleased that "Day Three", my second-ever piece of flash fiction, came in second in Pulp Fiction's Hummingbird Flash Fiction Prize. I don't know what the actual field I was up against was, but the contest is said to be limited to 300 entries, the longlist had 27 stories, the shortlist 10, so...even the second-best out of 50 or so would feel validating when we're talking a publication the quality of Pulp Literature.

I am particularly pleased because getting published in Pulp Literature was one of the five writing goals I set myself for this year. Getting X number of stories written for the year was goal one, of course, and two was to see if I could get something published/sold each month (so far, four out of six, but still time to catch up), and the third was to finish polishing the novel and approaching agents—I'm lined up for a session with an agent in three weeks—fourth was selling to Pulp Literature; and fifth was writing an article for University Affairs, which I'll probably get to as soon as I finish teaching for the year.

So, what writing goals have you set yourself for 2018?

The Hummingbird Contest was an exception to my general rule not to enter contests that charge admission fees, since some of those are scams and others are just too expensive for the odds of being the winner. I generally don't mind fees under $3 because I understand that small press magazines have to support contest costs somehow, but when it's $20 or $30 or $50 to enter, not so much 'support' as a tax on the egotistical and the desperate. But having fallen in love with Pulp Literature the moment I saw it (I mean, even just the covers—wow!) and having already gone through four single issues, I had gone to their webpage with the intention to buy a subscription when I saw the contest. The contest fee included (i.e., was for) an e-subscription, so two birds with one stone seemed like a plan to me. And now I'm $50 up on the deal. Pretty pleased how that turned out.

Looking forward to reading the winning story in Winter 2019. I know I have to up my game when it comes to flash fiction—I'm generally pretty verbose, with most of my short fiction coming in at the 6,000-10,000 wordmark, so need to focus more on short, sharp writing, which in turn will help me tighten the writing in my longer stories. Judge Bob Thurber said of the winning story: "The language of “The Angler” blisters like sunburn. The edges of this very short (under 600 words) story are prickly bright and they’ll leave blind spots on your eyes for days." Yeah, I need to learn how to do that.

I finally finished my major project for the last six months: writing and revising my 32 page guide on writing strategies for theses and dissertations, and have posted it to the Essential Edits site.

I argue that one has to unlearn undergraduate writing skills to learn a completely new skill set to survive.

Research suggests attrition rates of between 50% to 65% for PhD candidates and thesis-route master's programs. Interestingly enough, most drop out of the program after completing all the course work and all the data collection and analysis for thesis/dissertation, which suggests that the problem is in the writing stage—though this is seldom recognized in the literature, and often not even by the students themselves! Reorienting graduate students to the different nature of sustained writing projects could assist many more students in completing their graduate degrees.

The guide is available free from EssentialEdits.ca/ThesisStrategies.pdf.

The Zen of Comedy

A few years ago I wrote about the Zen of Comedy for Broken Pencil magazine. They had kept the essay up on their website for a very long time, so whenever I wanted to explain the concept to someone new, I would simply point them to that article. Eventually BP took the essay down to make room for more recent articles, and about that time, author Nate Hendley asked to do an interview with me as part of the promotion for his book, Motivate to Create A Guide for Writers and Other Artistic Creators and I covered the same basic concept there. That interview included a few other topics, however, so I am reprinting just the Zen of Comedy principle here in this abridged version:

Interviewed by Nate Hendley

What motivates you to write? Is it the promise of money, fame, power, recognition, self-fulfillment or something else?

I’d have to say that in my case, it’s “something else”.

...

In terms of my own writing, my motivation can be largely summed up as the Zen of Comedy: The principle that nothing so bad can happen to one that it can’t later be turned into a funny anecdote. As a writer, everything that happens to me becomes fodder for my writing. Even the most mundane visit to the dentist or annoying encounter with a bureaucratic clerk can be magically transmuted (thanks to judicious editing) into heroic journeys, righteous battles, and gleeful victories, the better to entertain my readers. Consequently, whereas others often seem to go through life as mere sleepwalkers, the writer remains sharply attuned to his/her environment, ever alert to the detail of plot and character, the possibilities of imagery and metaphor, as we seek to turn our lives into life stories. In imposing a narrative structure on our lives, we heighten our attention to foreshadowing and significance, and in so doing, are often able to anticipate decisions and to find meaning in situations that others may experience as unexpected or soul-destroying. Just as a reader I can almost always see that next plot twist coming, as I write my life, a lot of things become clearer than might otherwise have been the case.

Second, knowing that whatever happens I’m going to get a good story out of it often helps to place my current difficulties into perspective. I learned this principle from Karl Johanson, the editor of Neo-opsis magazine. Listening to his hilarious account of traveling through the mountains to attend the convention where I first met him, I interrupted to ask him why his misadventures hadn’t led him to turn back. “Are you kidding?” he asked. “Even as I watched our van roll down the hill and over the cliff, I knew it would make a great story, and I’d be able to come here and keep you lot in stitches for an hour. And nobody was hurt, so what the hell? And when you stop to think about it, the way it happened, it really was very funny!”

That’s the point, of course. As a writer, one always does stop to think about it, to see the humour in any situation, more or less as it is happening. Karl is one of the most laid back and together people I know, and I can’t help thinking that this is due at least in part to his also being one of the best satirists publishing today. Ever since meeting Karl, I’ve realized that the bastards could never get me down again, because as a humorist, sweet revenge is always but a pen stroke away.

Third, in editing one’s autobiography one is in large measure editing one’s real life. This is hard to explain to someone who isn’t a humorist, but the thing of it is, once one has written up some troublesome incident as an amusing anecdote, there is a strong tendency to remember the anecdote rather than the actual incident. Remember that boring job that sucked the life out of you for the eighteen months you stood it? Out of that whole period there were maybe two funny things that happened—but if those were the two incidents you wrote up in your novel, ten years from now, that’s what you’d remember about that job. And since one is one’s memories, one can effectively edit one’s life to make it way better than it actually was.

Thus, as a writer I’m able to find meaning in the meaningless day-to-day trivia of modern life; can adopt the stance of ironic observer where others would cast themselves as victim; and instead of the alienation that has become the norm in our society, I am afforded a Zen-like detachment.

And all that comes out of the act of writing itself. With the subsequent publication and distribution of my essays to an audience, I collect the added bonus of being able to create a community of readers and correspondents. Who doesn’t feel better about their life when given a sympathetic ear? As a zine publisher, I had a ready-made audience, a veritable convention of barmen to listen patiently and perhaps offer the occasional “Got that right, buddy!” As five or 10 or 50 of my readers responded with relevant anecdotes of their own, and as I excerpted the best of these for publication in the next issue of my zine, we together created the community, identity, and meaning that might otherwise have been lacking in our everyday lives.

I suppose that could be mistaken for seeking fame or reputation, but I was writing for a relatively small readership, so it’s really not the same. It’s not so much seeking fame, of wanting to be a household name, as of just having an audience. I think everyone needs an audience, someone who is interested in what they have to say, even if it’s only their dog. Otherwise, what’s the point of getting up in the morning if no one notices you’re there? Having a loyal readership goes a long way to filling that need.

(Nate Hendley is the Toronto-based author of Motivate to Create: A Guide for Writers and authors. He has also written numerous other books, primarily in the true-crime genre.)

Interview About My Writing Process

CBC's Joe Mahoney interviews me about my writing process as part of a blog hop, April 7, 2014 at http://sfeditorca.blogspot.ca/2014/04/writing-process-blog-hop.html

NaNoWriMo 2013 Update #1

Coming up on November, so NaNoWriMo time again. Here is an interesting set of posts on whether it is better to plan out one's novel in detail, or to just start writing and see where it goes.

On planning: http://theaccidentalnovelist.wordpress.com/2012/10/12/weekend-workout-prepping-fo-nano-or-not/

On just going with the flow: http://theaccidentalnovelist.wordpress.com/2013/10/30/nanowrimo-2014-team-pantser/

I'm usually some combination of both. I often have an idea that has been perculating in my head for years, often decades, where I have daydreamed various scenes here and there while walking the dog or shoveling snow. So I have a general idea of what the novel is about, who the main characters are, and where the novel is going, but with really only fragments of scenes here and there and big gaps between. No real structure or outline. So NaNoWriMo is a chance to get what I have down on paper and to see if I can connect the dots. The end result is often very different than where I started, and I occasionally write myself into corners by writing blindly; but on the other hand, I often generate new scenes and characters I would never have thought of if I were using a disciplined outline. By writing myself into corners, I force the protagonist to come up with a way to extricate himself, which I would never have thought of in an outline, because I would have known better than place him in that corner in the first place, if I had had a plan. So my hero is much cleverer and a much faster talker than he would have been otherwise.

It's true that I have had to cut whole sections of the novel that haven't worked out, because by going in that direction I precluded something that I realized had to come in later for the novel to work, or that went against character, or otherwise didn't work out. But at 2000 words a day, I could afford to dump a ten or twelve page section and try again; whereas if an outline had called for that scene and it had taken me a month to write, I would be far more reluctant to give up on it, persisting to the point of such frustration that I might be tempted to abandon the whole project as undoable.

I'm also quite a slow writer and tend to write longish novels, so has taken me two to three NaNoWriMo to get first complete draft. Now is the time for outlining, to make sure that I haven't lost track of any of the bits I started with (I lost two of the main characters there for awhile, and had to go back an account for their absence) and that everything works logically. I was actually surprised to find that my subconcious had indeed planted many of the clues in early chapters to foreshadow the unfolding of the mystery, even though I had had no idea what that mystery was when I set out.  So having a first draft, I can go back and get a plan for the revision; I can use what my subconscious provided as raw data and use the resulting outline to tighten everything up so that the structure really works.

Or at least, that's the plan.  Come Friday I start work on my new novel (opening scene clearly in my head, though getting that scene down on paper is a whole other thing) so will have to see how far on the back burner the previous novel gets pushed.

NaNoWriMo 2013

Well, gearing up for NaNoWriMo for November 2013. Not hopeful I will achieve a lot, given that I am both teaching and editing during November. I will feel too guilty if I work on my own novel when there is a significant stack of others' manuscripts languishing on my desk awaiting my editing. But I routinely daydream/work on the opening scenes of this novel as I go to sleep each night, so would like to get those down on paper, so I could move onto the next set of scenes without fear of forgetting the details of what I have so far. We'll see if I can achieve a modest goal of say, 10,000 words. That ought to cover the protagonist's arrival and first night at his new command, at least.

I started this novel when I was in grade 9, so that's over 45 years ago. Current version is probably somewhat different than the original: for one thing, book now starts in the middle, and uses flashbacks for the slower original opening chapters. But basic concepts haven't changed. Ironically, hero is 64, which I thought was pretty innovative back when I was 15 and tired of all the coming of age fantasy novels that dominate that genre. Now of course, everyone will just assume I made the protagonist that old because I am myself coming up on that age. So funny. Hopefully, I am a somewhat better writer than I was at 15, but still like the cast of characters and world building from back then. Just now I maybe have the requisite skills to actually get my ideas down on the page.

Nanowrimo Summer Camps, etc.

I have a couple of times tried to write during National Novel Writing Month, but November is a busy time of year for me, so I've only managed to meet the 50,000 word quota once. Now, The Office of Letters and Light has introduced Summer Camps in April and July. By complete coincidence, my wife had organized a 21 day writing retreat for me in late April and early May, so I had already planned to devote much of April to my own writing. Synchronicity demands that I therefore sign up for the April Camp Nanowrimo.

I probably won't take advantage of many of the writing supports offered by Nanowrimo, as I suspect the various forums would serve more as distraction than stimulus, and also because I'll be away on retreat and therefore offline for most of April. But I really appreciate the daily deadline implied in the word counter and the calculation of how many words one has to do each day to make one's target. The summer camp has the advantage of allowing one to set one's own target. I think I need about 30,000 words to finish off the first draft of my first novel, so that's what I am aiming for. Once I finish the first draft, I can grind away at editing at my leisure.

So am really looking forward to April, though that puts a lot of pressure on rest of March to clear the decks by finishing everything else off.

Meanwhile, I currently have five short stories (around 23,000 words in total) in circulation; target is to get another seven out before New Year's for an average output of one a month. As usual I am behind, partly because of usual responsibilities of job and family, partly because I had taken on way more editing jobs than I had proper time for. But these great manuscripts keep dropping into my lap, and it is very hard to say 'no'. My publisher has insisted on taking some of these off my hands before my slowness ruins the press' reputation for promptness, but I have been equally insistent on keeping some of them to myself, being convinced that only I can see what needs to be done to have them realize their fullest potential. So at last count, I have six science fiction/fantasy novels on my desk that I have to get to before I start on my own work. In my view, it's not fair to hold up others' writing careers to attend to my own writing. Once I can send their work to press, or at least off my desk and back to the author for the next round of rewrites, then I can turn to my own work with a clear conscience.

I did get three nonfiction pieces out this year as well, but those count for the day job so fall in a different category in my mind. I gave a co-authored paper at a Miami conference and took "Best Presenter" award; I had an article published in Obsolete Magazine I was rather pleased with, and I have another one sitting with a new journal, so will see how that goes.

At some point, will have to manage to work in some leisure reading. Someone asked me about my favorite reads for the year, and the trouble was I really hadn't read anything other than the books I was editing. Some of those were very good indeed, and I wanted to recommend them, but couldn't really until they are published. (Indigo Time, The Runner and the Wizard and My Life as a Troll come immediately to mind, but there are a lot of great books that come across my desk. Candas Jane Dorsey's Black Wine was absolutely brilliant, for example, but I didn't get to edit that past the acquisition stage because it basically didn't need anything, either because it was already thoroughly edited when originally released by Tor, or just because she's just that good. (Why Tor never reprinted it is a complete mystery to me: the damn thing had sold out even before its official Canadian book launch, so that ought to have told them that there were more sales to be made....Not that we're complaining! More for us!) So I certainly get to read a lot of great books in my editor's hat, and increasingly they are by my favorite authors (Dorsey and Duncan, for example) as our press grows and attracts bigger names. But sometimes its nice just to read a book without going into editor mode. Though, if I'm honest, there is nothing better than being an editor, because whenever I hit something in a book I don't like, I get to change it....

Donald Barr

Donald Barr was a significant figure in American post-secondary education, having been a professor, Dean, and author of Who Pushed Humpty Dumpty? Dilemmas in American Education (1971) a major book in the 1970s. He also wrote two SF novels near the end of his career, so he's a bit of a role model for me.



His first novel, Space Relations: A Slightly Gothic Interplanetary Tale is one of my favorites. I've just finished rereading it for the third time, and I almost never re-read novels. But his is one of the novels that comes closest to the one I'm trying to write myself. Having re-read my way through the Miles Vorkosigan series (which stands up very well to rereading) and as much of the Retief and Stainless Steel Rat and Agent of Vega books as I could stand (not nearly as good as my 15-year-old self remembered them), Space Relations was the last of the novels that heavily influenced my own first attempt at novel-writing.

Space Relations is the story of a very minor diplomat who is kidnapped and sold into slavery, but ultimately thinks his way through to escape. But it's way better than that summary makes it sound. It's clever and funny and sexy; an adult version of The Stainless Steel Rat or Retief, and the spy stuff is a lot better because, did I mention, Barr was also a former intelligence officer in the OSS.

What I learned from Space Relations is the importance of not explaining everything at the moment it happens. There's one rather clever bit of action early on in which the hero initiates a bit of a scene: the other characters (and the reader) assume he is just being a bit of a wise-ass out to annoy his captors, but about 15 chapters later the hero explains that this was a key turning point for him because it gave him the information he needed to escape. I've remembered that scene ever since I first read it 25 years ago. And I have therefore resisted the temptation to explain everything as it happens in my own novel, and I'm quite proud of a couple of bits where the reader doesn't get to know what's going on until later. Connie Willis is the other master of the same technique.



In contrast, I've had three manuscripts across my desk in the last three months in which the first-time novelists have answered the protagoists' questions within pages -- sometimes within paragraphs -- of their having posed them. How mysterious is a mystery that lasts three paragraphs? In each case I have had to point out to the authors that there is no tension in a puzzle that is solved the instant it is introduced. The contrast between these newbies and Barr's first novel made a very strong impression on me.

Unfortunately, Barr's second novel, A Planet in Arms is nowhere as good. I re-read it again too, in my enthusiasm for Space Relations, but now wish I hadn't. A Planet in Arms is much darker: the characters are less sympathetic, much of the action is unpleasantly gruesome, and Barr projects his American cold war politics a 1000 years into the future which is just embarrassing. Large portions of the novel drag as the 'action' slows to debates in the legislature -- more projection of American politics and stereotypical communist villians. In contrast to Space Relations' careful development of a single protagonist, the pov in Planet in Arms is fragmented between a half dozen characters -- the characters serve to tell the story of the revolution rather than allowing the revolution to motivate the actions of some character. I don't feel revolution makes for a good character. To be fair, there are still some (albeit dark) comedic bits, and the spy action is informative, so the book isn't awful...but no Space Relations.

Space Relations: worth seeking out, but it's a one-off.

Interview on Editing

Interview with me on editing by Mike Plested on his regular Get Published podcast.

Tesseracts 15 Launched

Robert Runté reading from "Split Decision" at Edge book launch, When Words Collide Festival, August 14, 2011 (Photo John Archer)

I was at the When Words Collide Festival in Calgary last weekend, where Edge publications launched their Tesseracts 15: A Case of Quite Curious Tales collection. As one of the contributors in attendance, I was asked to read a brief excerpt (the first 1/3) from my story. The readings were a wild success -- I can hardly wait to read the stories by the other authors who read excerpts, they were all exceptional -- and I was completely overwhelmed by the reaction to my own reading. I had hoped that my story was amusing, but had no idea that it could generate the gales of laughter with which it was greeted by the live audience. The publisher was apparently surprised too, because they approached me to do a second reading at their multiple book launch again the next day. I read the second 1/3 of my story, again generating a much stronger audience reaction than I would have ever believed possible. The audience for the Edge multiple launches was much bigger than that for the first reading, so the impact of having that many people 'getting' my humor was overwhelming for me. I have never done a public reading of anything I'd written before, so always thought of writing as a solitary and introspective act. You send stuff out there, but you never really know how people are reacting, even if they comment that they liked your story. Hearing their laughter live, is an entirely different experience. Equally gratifying are the tweets and emails I received following the festival telling me how much people had enjoyed the story, a couple even going so far as to say my reading was the highlight of the convention for them. Talk about validation! I could see public readings becoming quite addictive!

The avalanche of positive feedback for that story contrasts sharply with the invisibility of my role as editor. The books I edit for Five Rivers do acknowledge my role in the colophon, but I doubt that many people notice or care -- I can't imagine getting a congratulatory email saying "nice job editing on that book!" since it is by definition an invisible role. Audiences never get to see the before and after manuscripts, or alternate versions of the novel by a different editor (as one gets with directors and plays), so there is no basis upon which readers can judge what editors do. And it is even worse in the case of my growing freelance business (wwwSFeditor.ca), since most of the writers who come to me for coaching do not want anyone else to ever find out that they sought the help of a development editor. I feel I have had a major impact on the success of at least a couple of authors, but no one will ever know because the advice is always given in strictest confidence.

Given how much I enjoyed the positive public feedback I received this weekend, I may have to reconsider how much time I am devoting to editorial work verses my own writing. Though, editing does pay better, and I am really good at it. Hmm, maybe it's my day job I'll have to give up....

Though professoring is a pretty good gig too. Indeed, I've just received confirmation that I have been given the 2012-2013 year off teaching to write a textbook on student evaluation, so there is one book I will be writing for sure (and getting paid for). Now, to see if I can write a textbook that generates the same sort of positive feedback. (Well, I do intend to use a lot of humor -- god knows, the field could definitely use it. The other texts are all so uniformly boring!) Much as I enjoy teaching (comes with a live, captive audience) it will be wonderful to have time to write without feeling like I am stealing time from my family, students, or etc.

Anyway, can't wait to read the reviews of Tesseracts 15 when they come out...I just got my author's copy at the convention, so I haven't read it yet myself, but if the author readings this weekend were any indication, its one of the best YA collections in years, so should do extremely well. The publisher's table sold out of all the copies they had brought to the convention, so that is probably a good sign. The editor told me they had over 300 submissions, and that they just took the best of the best, so I am really looking forward to reading it. I am definitely in good company with this one!

Short Story Published

Was pleased to learn that my short story, "Split Decision" has been accepted for publication in Tesseracts Fifteen: A Case of Quite Curious Tales, edited by Julie Czerneda and Susan MacGregor, (from EDGE Science Fiction and Fantasy Publishing, ISBN 978-1-894063-58-6; $15.95 -- available for pre-order from Amazon.ca for $11.48.) Official release is set for September.

I am trying to find time for more fiction writing, but most of that energy has gone into my novel, and it is pretty slow going, so when the call for submissions for Tesseracts 15 opened, I decided to write something for it. The last short story I wrote was "The Luck of Charles Harcourt", which was printed in the first issue of On Spec magazine, summer of 1989, so it had been a while!

The theme for this issue was Young Adult SF. I had an idea for a short story kicking around for some time that might suit, but before I could put pen to paper, my daughter rushed in and started telling me about some incident at school. Making sense of an excited 13 year-old's stream-of-consciousness narrative is often quite challenging, because without knowing the context of her many self-referential allusions, it is often difficult to follow how the various bits of the story connect to each other. Like a detective, one has to use interview probes to slow and direct the initial rush of verbiage, and then deconstruct what is being said to tease out the unstated assumptions and the missing pieces that provide the logical connections between the various bits bulletting past. Standing there listening to this fascinating web of seemingly irrelevant detail, I asked myself, what would it sound like if my daughter were trying to tell me something completely outside my experience, where I had no chance to figure out the missing context? So I took Tigana and her friends and dumped them into an SF scenario, and the first draft was finished in about six hours. After some helpful input from my wife ("kids don't call it that any more -- my god, you're old") and Lorina Stevens (Shadow Song and From Mountains of Ice), I was done. Couple months later, I'm in. That's a little faster turn around than one gets with a novel!

Writer's Retreat Part II

Having done the Queen Mary, I moved across the street to the Carnival Cruise Line's port and boarded the Paradise for a four day cruise. The decor of the Paradise is pretty gaudy (especially in contrast to the magnificent taste of the Queen Mary), the entertainment painfully-excessive patriotic American musical tributes, and the passengers mostly out for a four-day drunken 'lost weekend', so not at all my crowd.

But the food was good and I was only interested in the cheap cabin and the chance to write. Indeed, I didn't even bother to disembark at either of the ports visited.
I mostly stuck to my cabin, emerging only for meals or to give the steward the opportunity to clean. I had brought my Neo2 with me, a wonderful portable writing tool, so would go to the library or an unoccupied corner to continue writing pretty much nonstop.

(The library on the Paradise is as tacky as the rest of the ship, with only a fraction of the bookcases of, say, NCL's Pride of America, and even half of that was given over to the storage of games or hymnals. The four tiny bookcases left for actual books contained nothing but trash -- the best I could find were two books by J.D. Robb and a Stuart Woods -- not exactly heavy-hitting literature. Clearly, "beach read" would be too challenging for the typical Paradise patron, interested only in gambling and duty free liquor.)

Unfortunately, I was mostly blocked. Under considerable pressure to put my retreat to good use, I ground away on the next chapter but without making much progress. The truth is, I had already written everything covered in my outline except for the final two scenes, but still have about 25,000 words of action between here and the end to fill in. Normally that wouldn't be a problem: I just start writing and see what happens. But I had stopped on a slightly complicated bit of business where the characters have to talk through who is going to trust whom, and I just kept getting bogged down in the problem that the basic premise of my hero winning over the others is completely ludicrous. Well, okay, that's largely the point of the novel, but there is only so much clever dialog a reader can wade through before somebody has to shoot somebody for the action to keep moving, and it just wasn't coming together for me. I'd try to speed things up and have one or other character cut through the chaff and say something to move things forward, but they kept balking and telling me they wouldn't say that until this or that condition had been met, which I couldn't get to without another 20 pages of dialog that was frankly beginning to bore even me.

Long experience has taught me that writer's block is largely a question of momentum, so rather than stare blankly at the keyboard, the trick is to get the juices flowing by writing something. (See anything by Natlie Goldberg for details on the technique.) So I switched to a short story I had wanted to submit to Tess14, though the deadline for that had already expired, but that wouldn't come either. So, I went further down the writing ladder to 'editor mode' and began work on a nonfiction manuscript that had been sitting on my desk, nagging me, for a month. That seemed to work, and I was able to bang through that in about a day (freeing up a day or two of writing time from my post-retreat schedule). Feeling better having accomplished something I turned again to the short story, and that started coming. As I got a bit of the story working, I switched back to the novel and made a bit of progress, though nothing like I had hoped. (But then, I always set unrealistic expectations for myself....) By the end of the cruise I still hadn't dug myself out of the corner I had written myself into, but I was starting to see a couple of possibilities -- when in doubt, you can always blow something up, and I had a couple of characters waiting in the wings I could drop in on the conversation prematurely....I just had to decide which one because each would take the story in very different directions.

Getting off the Paradise, I went to the Sheraton across the street from LAX for the day, wasted time bogging and emailing (Internet time on a cruise ship is too expensive for much of either of those) but did make some progress on the short story. Next day took off for Missoula, where I spent the night awaiting the bus to White Fish. Once again, the Neo2 came in very handy as I kept writing non-stop.


The view at the Lodge at Whitefish Lake

Mary booked me into the Lodge at Whitefish Lake, which was very nice indeed. The room they gave me was fabulous, with a spectacular view of the forest, and the dinning room was superb. We will definitely be returning there. Sitting with the Neo2 on my lap, looking out at that view was perhaps the most productive portion of the retreat, though it is fairly typical that I hit my most productive at the exact moment the retreat is over. Though in this case, I actually had the train from Whitefish to Shelby to go and was able to edit the first draft of the short story. The train back was even better than the first trip because of course during the day I had the benefit of the spectacular mountain views I hadn't been able to see going the other way. And the dinning car had real china this time.

So, all in all a successful trip, even though I did not complete my novel. The key, I hope, is that I was able to reconnect with the novel (I always re-read and re-edit what I have so far, before starting the next bit) which keeps the project alive. I have several colleagues who have half-finished manuscripts in their drawers, some as long as 100,000 words, that they just lost momentum on and stopped. I used to think that was crazy, but I'm starting to understand that a bit better now that mine has dragged on over three years with no end in sight, and with dozens of other writing projects jockeying for my attention. But devoting the week to the novel was enough to refocus me on the project, to get the enthusiasm back up, and to get me thinking about the characters whenever I have a moment. I've more or less figured out what happens next and can work on the details in my head until the next opportunity to get it down on paper.

And although I can already see that I will have to rewrite the short story before it can be sent off, I know what I have to do to make it work, so it is just a matter of squeezing a day out of my schedule somewhere to finish that up. I am quite pleased with it because it is entirely different from what I normally write -- it's good to push to the edges of

So, mission accomplished.

Writer's Retreat

My wife has for some time been arranging writing retreats for me. It all started a couple of years ago when I was debating taking in the writer's retreat at the Banff center, balancing the $3500 price tag against what I was likely to get out of it. Several writers of my acquaintance had praised the Banff retreats headed by Robert Sawyer, and Sawyer definitely struck me as the kind of writer from whom one could learn a lot. (I've attend his self-marketing seminars for writers, for example, and they are brilliant!) Sawyer is first and foremost a story teller. Working on my first novel, I was primarily preoccupied with the basic elements of plot, pacing, setting and dialog, all of which Sawyer could certainly help with. But the workshop leader for the year I was contemplating was instead a leading Canadian poet. I considered that a poet might not be quite what I needed. My stereotype of poets led me to suspect that he would more into examining manuscripts for symbolism and allusion and, above all, word choice. All fine things to be sure, but not my current interest. I needed to make sure I had a story that worked before worrying too much about the literary value or the quality of the writing. That could come later -- about book four, I figure.

So I was already ambivalent about the retreat when I broached the topic with my wife. Mary was very supportive of the idea of my going away to write, but pointed out that at the price, she could put me on a deluxe cruise far cheaper.

And then it occurred us, well, why not? Mary went into travel agent mode (her chief hobby activity), went online, and immediately found me a 7-day cruise to Alaska for $700. It was perfect!

Now to get an Alaskan cruise for $700 dollars, you have to know how to find the best deals, book early, and take whatever cabin they assign you. So the joke was that Mary had booked me in the worst cabin on the ship. Not only was it an inside cabin (i.e., no window), but the reviews (thanks to the Internet, you can actually find reviews of your specific cabin, believe it or not) had complained about the engine noise and constant vibration. But here's the thing: The novel I happened to be writing was about a group stuck on a starship for a year, and one of the elements I happened to struggling with was getting the atmosphere of shipboard life. So a cabin next to the engine room was exactly what I needed, the various clanks and thumps working their way into the novel for my hero to experience exactly as I was.

The Alaskan cruise gave me the same or slightly more majestic scenery (e.g., the Mendenhall glacier) as the Banff Center, and an equally quiet place to write, but at one-fifth the price and with the advantage of way better food.

I'd write in my cabin for most of the day (or night -- with no window, there was no light to disturb me, so I wrote when inspired, slept when I wasn't) come out for meals (or sent down for room service if it happened to be late) and for exercise. Blocked on some scene, I would walk the promenade deck, or hike through town or forest if we happened to be docked. It was fabulous.

That first trip, Mary also arranged for a 'behind the scenes' tour of the ship -- bridge, kitchens, environmental and so on -- which was just what I needed to flesh out the background details for my starship. As it happened, I was the only one who signed up for the tour that trip, so I was able to ask questions nonstop about the navigation systems, officer training, and so on, all of which triggered analogous details in the novel.

On the whole, the experience was a great success.

So, Mary has booked me into a couple of writing cruises since. It's been great, and I'm just now approaching the total of what that one Banff workshop would have cost.

Mary tried to book me onto a couple of more interesting cruises, notably the 21 day Panama Canal cruise before they widen the canal, but I had to turn those down as too potentially interesting. To work, I need a cruise that won't be too distracting. (The Alaskan cruise is great, but I'd already done it twice previously with family, so didn't feel I was missing anything by not doing the excursions or watching every passing conifer or going to the shipboard entertainments.) I am also not allowed to take the repositioning cruise from LA to Hawaii, as my kids have made it clear they will plot to kill me if I ever try to go to Hawaii without them.

I have therefore been contemplating organizing writing retreats around specific writing projects, and inviting 10 or 12 or more other writers to join me. The advantage for the writers, in addition to the obvious opportunity to go on retreat, is that they could get a tax deductible cruise out of the deal. I am not much interested in having other writers critique my work, or vise versa (see Stephen King quote on workshops here) but I do like the idea of being on a ship with a table load of writers who could intelligently discuss the writing life, etc. at lunch and supper. The two barriers to this project are that most of the writers I see as potential participants are either too broke to participate, or have day-job schedules that conflict with the timing of the cruises. (Not going during high season, is of course, the first principle of achieving affordable cruise-retreats.)

Novel Update

So, I was cleaning out the basement office last week and stumbled upon my old writing files, so I dusted them off and sorted through to find the original outline for the novel I am currently at 90,000 words on. Several facts struck me.

First, the outline (which would have come after a long period of thinking of the story before committing an outline to paper) is dated March 17, 1975. So that means I have had this novel in my head for well over 35 years. The original outline is very close to the current version; as close as I would likely stick to any outline in the actual writing stage. (My characters are the sort who insist on saying what they want, even when it means going off script.) So that's pretty amazing to me considering I haven't seen this outline since filing it in this filing cabinet when I first moved to Lethbridge, 20 years ago. I've added the character of a young boy sometime in the 1990s (because Sean Stewart told me it is next to impossible to write good action SF with kids in it; so, you know, wanted a bit of a challenge) and I added a dog during the actual writing (because I got a dog during the actual writing, and because, you know, the boy needed a dog). So considering it's all just been scenes evolving in my head all those years, bit surprised to see how close I am to original idea.

Second, the two pages of opening scene (all that existed aside from the outline) are hand printed on strips of lined paper stapled to an 8.5 X 11 sheet. That is, I had written a bit, then changed my mind, cut the sentences I wanted to save out of the page, and stapled them to a new sheet, to continue writing; then cut the bottom off that page, and stapled surviving paragraph to a new sheet; and repeated this several times until filling the page. Which is how one did word processing, circa 1975.

Third, the initial outline is on a 5X3 index card hand printed in such tiny letters I cannot read it without a magnifying glass. I recall that I used to keep all my notes that way. Unbelievable -- and unreadable -- to me now. I hereby solemnly swear not to take typing for granted again. Long live the keyboard! (If I thought typing 90,000 word manuscript was hard, I cannot imagine what it would have been like writing a novel by hand.

Fourth -- and this really hurts -- are lines like this piece of dialog: "Frayer is well into his fifties, but don't let that throw you, he's a damn good officer." Questions of literary merit aside, it's a little annoying to have one's younger self send such a clear message to me now, saying I am of such an advanced age to be officially over the hill and my competence suspect. *Sigh*

Fifth, re-reading this outline, it appears that I didn't have any ideas back then either for what comes next. I have about three scenes left to cover on the original outline, and then I'm on my own.... 36 years and I still don't know how the stupid book is supposed to end.

Future of Independent Book Stores

My vision of the independent bookstore of the future is one with an Espresso Machine, a coffee bar, a flat screen monitor flashing random 30 second shots of coverart/coverblurbs from the available Espresso catalog, and a set of bookshelves filled with 'staff picks' off the Espresso machine. Maybe a couple of computer stations fixed to a site like GoodReads. The customer comes in, orders a latte, and as they wait, talking to their friends, they can watch the screen flashing unexpected covers or browse the shelves to find books that will NEVER show up in Chapters/Borders/Barnes&Noble. Since every book on the shelf is by definition something the store/staff thought worth the $15-30 Espresso printing cost to display, you only see books the people behind the coffee bar know and are prepared to discuss with you.

If a title or cover intrigues you and you buy the book, the Espresso Book Machine automatically prints off another to replace it as they scan the barcode in at the till, and the space is filled ten minutes later. The store never has to stock more than a single copy of any book, but unlike on-line shopping, you can actually pick up the book and leaf through it to make a more informed decision. (And the display of actual books encourages browsing among the latte drinkers in a way that an online page may not.)

And when customers come in and ask for a book that isn't on the shelves, it's ready for them at the same time as their latte -- and the staff ask the customer about the book, and sometimes, if it sounds like it might be interesting, they'll decide to print off a second copy to put on the "customer recommendations' shelf.

Really hot titles might justify a second copy behind the first on the shelf in case the latte bar gets busy; and the presence of a second copy becomes an obvious physical sign that this book is a best seller (at least locally). Titles that start to move more slowly are replaced with a photocopy of the cover -- want to look at it, we'll print off a copy for you with no obligation, because we're pretty sure the book is popular enough that we can sell it eventually. But if nobody ever asks for it, the photocopy is retired at essentially no cost to the store.

Once every six months they have a half-price sale to get rid of the books that never sold even that first display copy; or a dutch auction where the price is reduced a little bit further each day until it finally sells. I could see that working pretty well to clear out unwanted books. At some point, following the big half price sale, would be 'Refresh the Shelves Day" or whatever it would be called, a sort of Grand Re-Opening, as essentially all new titles are rolled out --- at the very least, 'refresh the shelves day' would probably move a lot of extra lattes, as people come in to see what's new!

No more going from bookstore to bookstore to find a copy of a book you need tonight for tomorrow's class or book club meeting or just because you really need book three in the series NOW-- it's always in the store you entered because every book is. No waiting for three days for shipping from Online venues.

And writer events -- readings, signings, panels, would go without saying. Listen to the reading, then decide if you'd like the book -- if you did, they can print off a copy for the author to sign before you've made it to the head of the line up at the signing table.

It's not just that this approach has the advantages of Print On Demand (no shipping or warehousing costs, very little wastage/remaindering; books remain in print much longer; and can service smaller niche markets than legacy publishers) but that it promotes community and communication. Since the books displayed reflect staff and customer tastes, one could anticipate each locale developing its own bestsellers, its own underground hits and guilty reads; the customer base would slowly evolve until the coffee shop bookstore becomes the hang out for particular genres or authors, etc. You'd know when you walked in that -- unlike Starbucks next door -- everyone who came here not only could read, but chose to buy their coffee there because they wanted to talk books, at least some of the time. It would be one place where "read any good books lately" wouldn't just be a pick up line.