by Kathleen Bradean
Since it's November, the month of NaNoWriMo (National Novel Writing Month), I thought I'd check in to see how everyone is doing. Oh sure, you might not be an official NaNoer, but you might be working on something anyway. Or you might not. Maybe words just aren't flowing for you right now. They sure as heck aren't for me. But I'm still cheerful and optimistic.
I know what you're thinking. "How can this be?"
Here's the thing. I don't think it's possible to fail at NaNoWriMo. (Or whatever your current WIP schedule is). Sure, you can miss the word count goal by a wide margin. You can get so far behind that you feel hopeless and quit. You can even finish writing 50,000 words two days before the end of the month but realize you just wrote a steaming pile of gobshit. (That last one would be my NaNoWriMo experience several years ago.) But WHY are you feeling bad about that? You didn't really fail. The only scenario listed above that's actual failure is quitting and giving up forever, but you're not going to do that. And you know why? Because you're a writer and you can't help yourself. You know you're going to write again eventually.
So what did you accomplish even if you're on hiatus? Well, you learned that writing a novel is hard. That's actually a good lesson. So many people talk about writing a novel but never write the first word. If you wrote something, anything, you're ahead of many.
You learned that the story that you tell yourself in your head is like a dream - it seems to make sense but there's a lot of fuzzy logic in there that doesn't work in the harsh light of day. This is a good thing. So now you know you need to take some time away from tappa-tappa-tappa typing to think about the parts of your story that aren't working. Firm them up a bit. Flesh them out.
Maybe you learned that you need to outline. Or you learned that writing an outline sucks all the fun out for you. Whichever one of those lessons you took away from the experience, both made you realize that every writer finds a method that works for them and whatever works is the "right way."
Do you rewrite as you go? That's the right way.
Do you leave the rewrite until after you've finished the first draft? That's the right way too.
Did you have to step away? Damn right you're going to take some time to let that story ripen before you hit the keyboard again. You're going to think long and hard about what your characters would do next if they were real people in this situation. You're going to make sure you understand them before you plunge ahead. Then when you go back to writing, you're going to have them do that. Or you're going to decide that plot is king and you're going to force those stupid characters to do what the plot demands even if it's like Cinderella's step-sisters trying to cram their feet into that glass slipper.
All of which is simply a way of saying that writing isn't always adding to word count. If you're thinking about your story, you're writing. Maybe that doesn't get you a little word count badge on November 30th, but it's going to enrich those words when you finally do get them on the page. So be of good cheer, my dear lagging NaNoers. You can do this, in your own sweet time.
Tuesday, November 24, 2015
by Kathleen Bradean
Posted by Kathleen Bradean at 12:30 AM
Saturday, November 21, 2015
Thursday, November 19, 2015
Yikes! I forgot! It's Sexy Snippet Day! (Thanks to Ginger Segreti for jogging my memory!)
This is your chance to share the hottest mini-excerpts you can find from your published work.
The ERWA blog is not primarily intended for author promotion. However, we've decided we should give our author/members an occasional opportunity to expose themselves (so to speak) to the reading public. Hence, we have declared the 19th of every month at the Erotica Readers and Writers Association blog Sexy Snippet Day.
On Sexy Snippet day, any author can post a tiny excerpt (200 words or less) in a comment on the day's post. Include the title from with the snippet was extracted, your name or pseudonym, and one buy link, if you'd like.
Please post excerpts only from published work (or work that is free for download), not works in progress. The goal, after all, is to titillate your readers and seduce them into buying your books!
Feel free to share this with erotic author friends. It's an open invitation!
Wednesday, November 18, 2015
They say you have to have a provocative title to get eyeballs, but I couldn’t seem to come up with anything involving Fifty Shades of Grey this month and still keep my self-respect. Yet we all know there’s been a seismic shift in publishing over the past years, and few are certain where we’ll be when the rubble is cleared away.
Let’s face facts, “literature” and publishing are not what they used to be. Or at least not what I thought they were supposed to be as an undergraduate English major, dutifully paying homage to the Great Authors in my literature classes and paying somewhat more cynical, but nonetheless respectful, homage to the Possibly-Great Contemporary Authors who came down from New York to teach creative writing classes one afternoon a week.
Back in those golden days, being published meant your work was chosen by an eminent publishing house, carefully shaped by an expert editor, lovingly shepherded to market, and eventually taught to dewy-eyed undergraduates as a deathless example of the heights to which human creativity could climb.
I started publishing my more-or-less-literary work in 1997 when the vestiges of that old mirage were still quivering in the desert air, but I quickly learned that when your work is published, most (all?) authors, get a different view of the matter. Simply put, publishing is about making money, and any artistic value is secondary. Case in point: Fifty Shades of Grey.
Is anyone to “blame” for this turn from our higher nature toward the baser rewards of profit? Whether you see an impersonal historic force at work or prefer to find mustache-twirling villains, it’s always entertaining to point fingers. Onward to the first culprit.
Villain #1: The Agent
A literary agent is the traditional gatekeeper to elite publication. In the fantasy version, she or he selects talented new authors from the hopeful queries s/he receives, becomes best friends with said authors, and loyally supports their inevitable enshrinement in the literary canon.
In reality, of course, agents take a percentage of their clients’ earnings and thus, to make a living, need clients who actually earn something. A friend recently took a query-writing workshop from a relatively successful agent and came away with an interesting lesson. Agents care far less about the synopsis of your novel than your “platform,” or what you can contribute to profits through your established reputation, professional connections and marketing savvy.
Agents are said to like “comparables”—that is a comparison to commercially successful works as in “My novel is a cross between the Bible and Fifty Shades of Grey” or “Harry Potter, Twilight and Pride and Prejudice.” This, of course, encourages a highly conservative approach to choosing clients. If everything must be comparable to a previous commercial success, where is the room for something different? Hollywood since Jaws gives us the answer... nowhere.
Still one can’t help but pity literary agents, whose jobs are clearly threatened by the Internet. Publishers Weekly recently posted an announcement from HarperCollins to the effect that they are starting a “digital-first” imprint to publish “new authors of visionary and transformational fiction” (like Fifty Shades of Grey?). This imprint, HarperLegend--a poignantly hopeful name--is open to unagented manuscripts, although the publishing house affirms it still deals mainly with the agented kind. But, really, why not hire more young college graduates to mind the slush pile and cut out the middlewoman?
Agents may deserve some blame for the death of the value of art over money, but like it or not, at least they’re going down with the ship.
Villain #2: The Reader
In my research for my historical novel, I’m learning about leisure pursuits before the advent of radio, television and the Internet. By 1890 or so, public entertainments—dance halls, amusement parks, and picture shows—were rapidly gaining in popularity, but most good clean fun was still had in the home where families sang around the piano and read aloud from edifying works while the ladies did their needlework by the kerosene lamp.
Writing short fiction for commercial magazines was still profitable enough to make F. Scott Fitzgerald a handsome income in the 1920s and as late as the 1970s, I remember that novels by Philip Roth, John Updike and Saul Bellow were must-reads for anyone who claimed the slightest cultivation.
Who reads now?
Sure, there’s free stuff on the internet, but what makes a reader shell out money to produce those profits the publishing houses require? Perhaps it was always so, but the main motivation seems to be “what’s in it for me?” Are we talking a self-help book that will assure instant, painless weight loss or immediate financial bounty? Did a celebrity write it? Is it already a bestseller all my friends are talking about that includes child abuse and tattoos? Did it win a literary prize and also come with the requisite child abuse and suicide? Can I make my own decision about what I want to read rather than rely on someone else’s opinion? (Nah, too much work. I rely on Amazon one-star reviews myself. If the pans are smart, I pass.)
Now the thoughtful reader has been a dying breed for quite some time. In her biography of Mary McCarthy, Carol Brightman writes of the critical response to The Group, a 1963 best-seller that frankly (for the time) explored the erotic lives of eight Vassar graduates:
“With reviews and parodies such as these, a new chapter in American literary life had begun, one in which the prominent reviewer wielded more power than the author, not because of the priestly functions of criticism but because fewer people took reading and writing seriously, and thus reviewers got the last word—especially when they were also famous authors, blocked, for the moment, from the ‘creative stuff.’ Dealing in reputations rather than texts put them in the cockpit of a world where reputation, meaning celebrity, was the common coin of the realm.” (Writing Dangerously: Mary McCarthy and Her World, p. 461)
Perhaps the thoughtful reader was never as abundant as we’d like to imagine, but we see that celebrity was certainly an important factor in publishing long before Rob Lowe took up his pen.
Villain #3: The First Fifty Pages
As those of you who have approached literary agents know, a fortunate query will be followed up by a request for the first fifty pages of the manuscript. If the agent believes these pages suggest a selling book, s/he will request the complete manuscript. Thus, it is very important to make sure the beginning of your book promises commercial success. The leisurely novel openings of the eighteenth and nineteenth centuries are a thing of the past. The reader must be hooked as quickly as possible.
I recently read that it is likely that surprisingly few publishing insiders actually read the entire book. Certainly don’t expect the marketers, promoters or critics to do so. Recently I realized that this focus on the early hook explains a lot about my dissatisfaction with many of the books I read, whether fiction or nonfiction. Far too often, the promising, lively opening chapters fall flat so that by the end I feel duped and resentful of the author for betraying his promise. From now on, I’m going to pay attention to the timing of this downward dip of art and interest. I wouldn’t be surprised to find the decline beginning somewhere around page 51.
Here’s where we writers need to take responsibility. Yes, we must polish up those first fifty pages to be noticed by the professionals in the industry, but the rest of the book should be worth reading, too. Worse still are successful authors who are cajoled into reprising their bestsellers with sequels that seldom live up to the original. This is the saddest con of the publishing business.
In the end, however, I would suggest that the greatest villain is a naive, idealized view of the publishing industry, a view to which I must plead guilty in my life before my work was published. Books may seem like friends, but they were born of the bottom line.
Thus, a solitary writer cannot control the market, the publishing procedures, agents, editors or readers. We can try to write for reasons other than profit, even as we must pay some mind to marketability so that our work has the chance to reach a broader readership. Each of us can, in our own individual way, try to rebuild the fine art of storytelling as a way to connect with our readers in the spirit of trust, not profit.
By the time the tremors of new technologies in communications have subsided, publishing may end up a very different business, or it may have more or less the same fundamental characteristics in new wrapping. Yet readers will always love and appreciate a good story well told. All we have to do is write it.
Donna George Storey is the author of Amorous Woman and a collection of short stories, Mammoth Presents the Best of Donna George Storey. Learn more about her work at www.DonnaGeorgeStorey.com or http://www.facebook.com/DGSauthor
Sunday, November 15, 2015
“Despite it’s overwhelming presence, pain has the elusive quality of an absence, an absence not only of words to describe it (that is, a linguistic absence) but also of ways to think about it (a conceptual one).”
- Transformed Pain: where pain is instantly and unconsciously transformed into pleasure. In other words, pain does not really hurt, it is converted to pleasure. Newmahr found this most common in folks who engage in mild to moderate pain play.
- Sacrificial Pain: where pain is not transformed, and does hurt; bottoms suffer as a sacrifice for the benefit of or to fulfill the desire of the top. The bottom takes pain as punishment or as a gift to the top. Newmahr found this way of thinking most common in women who identified as submissives.
- Investment Pain: where pain is unpleasant and is endured in the promise of a later reward. The pain is not the goal, it is a path to the goal, a challenge to the self, a means to a different end (an endorphin high, the emotional satisfaction from enduring it, a sexual reward from the top for taking it). Newmahr found this framework most common in men.
- Autotelic Pain: where pain hurts and the hurt feels good. It isn’t converted to pleasure. The hurting is a good, valued and desired thing in and of itself. Newmahr found folks who used this framework to be marginalized within the BDSM community she studied.
- Is the sensation more concentrated (like a single tail whip, a punch, a cane, or a pinch, where the sensation focuses on a small surface area of the skin) or more dispersed (like a large paddle, a slap or a flogger with many tails, where the sensation is spread out over a larger surface area)?
- Does the sensation stay more on the surface of the skin (often described as sting, and associated with things like canes, biting, whips, wax play and slapping) or reach deeper beneath the skin (often described as thud, and associated with things like heavy floggers, batons, saps, and punching)?
- How does the sensation move through the body? Does it radiate out from the place of the blow (like with a slap or a paddle)? Does it reach underneath the skin and bounce back out (like with a cane stroke)? Does it feel like it drives right through you (like with a punch or a heavy flogger)? Does it come on strong and then numb out and then jolt you at the end (like with clips and clamps)? Does it sear from the start and then build an ache behind it (like with biting)?
- How would you describe the pacing and rhythm of the sensation? Sporadic? Relentless? Methodical? Jarring? Pounding? Percussive/rhythmic? Deliberate? Surprising? Building up in intensity? Dancing around? Moving close to the edge and then stepping back, only to move toward the edge again?
- Does the sensation have a temperature or texture to it? Things like canes, wax, belts, and slapping can often feel like heat. Things that stimulate the nerves (like whartenberg wheels), slower sensations, and cooler materials (acrylic paddles, batons) sometimes feel cool. A slow rhythmic flogging with deerskin can feel smooth, where things that drag on the skin (like some kinds of pinching or braided leather) can feel rough. Some kinds of pain feel like they are slicing into skin (belts) or piercing it (singletails).