Tag: My Writing Process

allyoucaneat-600x914I was tagged by R.G. Emanuelle, author and editor of a slew of novels, including Twice Bitten and several anthologies I’ve been fortunate enough to be included in. The most recent is All You Can Eat: A Buffet of Lesbian Erotica and Romance, which includes my story, Dessert Platter. This game of tag is to get authors to blog about their writing process and then tag someone else to do the same. We all answer the same four questions. Here are mine:

#1 What am I working on?

At the moment, I’m in the middle of an anthology launch as well as getting ready for the Bold Strokes Book Festival here in England, so my writing is on the back burner at the moment. But I’ve got several short stories I’m working on for various anthology calls–mostly erotica.

My primary novel project right now is a retelling of the Medea myth–a young woman helps a ‘hero’ get what he needs and she has to flee from her father’s wrath. She kills several people to do it, and much later, when the ‘hero’ sets her aside for a younger wife, she kills a bunch of other folks, including her own children. It’s an incredibly dark novel, and I have to take breaks from it occasionally.

When I take a break, it’s to work on a lesbian erotic novel I’m more than half way through.

#2 How does my work differ from others in the same genre?

That can be a hard question to answer. My erotica nearly always features butch-femme pairings, as that’s what I find most erotic. I like a good dose of sarcasm too. I find a sharp wit and smart mouth super sexy.

My Medea novel is using a female perspective to tell a story which has often been told by men, with the intention of getting inside the mind of someone who is, essentially, a serial killer. Can you make a serial killer empathetic, especially one who kills her own children? I think it’s possible, but we’ll see if I can pull it off. The erotic novel is not only butch-femme (lesbian, no straight folks), but bdsm as well, and you don’t see a whole lot of that out there right now. I’m having lots of fun writing it, even if it never goes anywhere.

#3 Why do I write what I do?

I write erotica because I enjoy reading it, pure and simple. But I also like the challenge of writing a short story–every single word has to count in a short erotica piece, because it has to be hot from pretty much the first line to the last. You can’t have a lull in short stories, so the writing has to be tight. And it has to be more than porn; there needs to be a strong enough story line to carry the reader all the way through.

I’ve loved mythology since I was a little girl, so doing a novel with a mythological theme was always going to happen. I love the sense of mystery and magic, the flow and mutation of gender and the way behaviour was so often defined by societal structures as well as by the belief in the pantheon. More than anything, I love writing strong, intense, intelligent female characters, and myth allows me to play with that to various extremes. When it comes to bdsm erotica, it’s the taboo that gets to me. The out of bounds and the gritty intensity of it, as well as the psychological elements of power exchange, all fascinate me.

#4 How does my writing process work?

Unlike many of the authors I work with, whom I know begin a story with character (as R.G. said she does), I tend to start with a story. One story I’m working on right now was brought about by the topic ‘butch’, but when considering that, I thought of a haunting photograph I saw recently of an abandoned house: a noose of wire hung in the doorway. I needed to tell a story about that, and when I tied in the ‘butch’ theme, it came together on its own. That’s how it happens with most anthology work I do. I see the theme, and come up with a story, and then I populate it with the kind of characters who would take that particular journey.

I work best at night, when I’m too tired to think. Being an editor means I tend to analyze each and every word, and that can stunt my own writing. So I have to get into a head space that allows me to escape my editorial self, and that usually comes along after nine at night. I rarely write a short story in sections. I tend to sit down and get it all written at once, and then I go back and fix it. When it comes to my novel writing, I have only a loose idea of what is going to happen–I know how it starts, I know the crisis moment, and I know how it will end. But how my characters get there is often up to them. In the case of the Medea novel, I have to move from murder to murder, so I have to make certain I’m building in enough pressure points to make that happen logically. That means making notes and constantly developing motives, which may change as I write, which means making new notes.

That’s it from me! I’m tagging:

Andrea Bramhall, author of Nightingale, Clean Slate, Swordfish and Ladyfish.

Amy Dunne, author of Secret Lies and the forthcoming Season’s Meetings.

 

Retreat

My last blog (some time ago now) was about the point at which I find myself with regard to my life. I had to make a particularly difficult decision, one which would have a ripple effect on my future in several ways.

Given this chaos, both internal and external, I haven’t been blogging, nor have I been responding to comments as I used to. My apologies. I simply have to portion every second of my time, and that doesn’t seem to include writing that doesn’t have a deadline or monetary aspect.

That said,

last week was the writing retreat in Spain.

It was seven days, with the first and last being arrival/departure days. So the five days in between were reserved for writing.

Each morning, we did an hour and a half to two hours of workshop and craft instruction. Each afternoon we did an hour or more of sharing and constructive feedback. At one point we met with people one on one to discuss their work individually and answer craft questions.

it was an intense, busy week. Each morning I got up early to work on my balcony, sometimes before the sun was up. I watched sunrise after sunrise over the Spanish hills, and daily my burden grew lighter.

Although I worked my ass off all week, many things became clearer, and I made the decision I needed to make.

And I did this while working with aspiring writers on a daily basis so they could move forward with the projects they were working on, something I genuinely love doing. And I got to do it poolside, under the sun. We took trips to Malaga and Lake Vinuela, we shared food, and we laughed a lot. And people left feeling like they were ready to tackle the next stage of their projects.

It was a superb week, and I can’t wait to do it again in October. There are still places available if you’re interested in coming along to work on your craft, to learn, to relax in the sun and dedicate an entire week to writing and a to join a little community of women writers.

So. Apologies for disappearing and whatnot. I hope you’re all fantastically well, writing away, and happy as happy can be. I’ll still be popping in here periodically, but the beauty of life is that I’m out living it. Hooray!

Here is some pictorial evidence to whet your appetite.

 

The Bloodletting Process

Have you been through the editing process?copyedits-by-Danica-Page
Have you opened a manuscript and wondered how the editor managed to kill an entire family of puppies on your work electronically?
Have you gone through the edits and thought, “What the hell was wrong with that sentence? It makes perfect sense!” and then struggled with whether or not to argue the point, or to hold out for the bigger stuff you want to argue about?
I’m the person you get to argue with.
I’m the one that goes through with the electronic red pen and carves up your beautiful word pizza with a hatchet.
But, I’m also a writer. I’m doing a doctorate in creative writing, in fact. So I’ve been through the editing process. I understand that sinking feeling in your stomach when you see the crushed tomatoes and wonder what the hell ever made you think you could write in the first place. That working at McDonald’s would be more rewarding and far less painful for your ego.
There’s a definite tension between editing and writing. It’s something I struggle with in my dissertation work. My natural tendency, after nearly a decade as an editor, is to edit as I go. This disrupts the flow. It cages the creativity and makes the story flat, the characters dismal, the plot muddy.
Writing means flowing. It means letting go and allowing yourself to write really terrible stuff until you find the diamond waiting in the middle of the mire. It means getting the story out, from beginning to end. Then, once you’re there, you can go back and start working through the story, finding gaps, fleshing, cutting, moving, etc.
Being an editor means I am always ultra-aware of nuance, of structure and character. I see the story in my head. I close my eyes and picture the manuscript and consider where restructuring might take place, where things need to be fleshed out or cut. I consider whether that moment that happens on page 72 needs to happen on page 3, or page 80. Clearly, this doesn’t help when I’m in the process of writing my own novel. Letting go, getting messy, allowing the words to fall where they may, is part of getting the novel written. The nitty-gritty stuff should come after the fun-creative stuff. But I just can’t seem to let go. I’m working on it. I had no idea I was such a word-control freak.
Being a writer means I’m aware of what it is to be edited. That it can be painful, and soul crushing. So when I edit I try to take that into account and explain as best I can why things have been changed, or why they need to change, or be cut, or fleshed out, or moved. I’ve always said that when an author finishes a novel, it’s like giving birth. And I’m the midwife. When you’ve pushed out that big lump of beautiful mess, I take it from you. I clean it, smack its ass, make it scream, and give it back to you. It’s still your baby, just clean and screaming.
It’s worth it. The tension between editing and writing, the feeling of having your stomach scooped out with a sharp spoon when you get your edits, the ecstasy of seeing your cover and the sublime feeling of holding your book in your hand. It’s all worth the birthing ritual and bloodletting.
Really.

Queer Integration and Writing

At a recent panel discussion I led, the topic was LGBTQ integration and writing. puzzle-pieces

A vague topic, certainly.

For the purposes of the panel, the question was: should queer fiction be integrated into mainstream fiction? Should it be separate, or should we always have an identifier that makes it separate? Does having a separate shelf in the book store ghettoize queer writing? Hell, what is queer writing? Is it queer content, or queer author? Must one have the other?

That’s where the conversation started. Other questions that came up: Do you consider yourself a queer writer, or a writer who happens to be queer? If we are fighting for equality, why should we need a separate category? Would it be better if fiction with queer content was integrated on the bookshelves among all other works, so that everyone just picked up a book and read whatever, regardless of sexuality/identification?

Does the author of the work matter? Can a non-queer writer write queer fiction (believably)? One audience member’s response was that it made him uncomfortable only when a non-marginalized person felt they were perfectly qualified to write a non-marginalized experience, because he felt they couldn’t fully understand what it is to live that experience. Another writer said it’s our job to write experiences other than our own, as creators of other worlds. That we shouldn’t allow the worry about ‘getting it wrong’ keep us from attempting to write characters from experiences other than our own.

Some readers said they don’t consider the author at all, some said the author was important because they bring an element of themselves to the story.

The panel was only 40 minutes, and it was a massive question with tons of offshoot questions. It was fast paced, vocal, and intelligent, with plenty of laughter too. So excellent.

Today’s question:

What do you think about some of the questions raised? Does the author of a book matter to you (particularly with regard to sexuality or gender)? Or is the story paramount? Should we keep a category of LGBTQ on the shelves, or would it be better to simply be among all the other books?

Book: Helen of Troy by Margaret George

Song: Even if We Try by Night Beds

Complex Communicators

Humans. how-u-are-feeling

We’re complex creatures. If we did, in fact, evolve, then we also managed to evolve extraordinarily complicated areas of communication and emotion.

But in this case, evolution may not have made things better.

Emotions are difficult to contain, to parse, to understand, to relate. They are mutable, transferable, irreconcilable. And there isn’t a moment when you aren’t experiencing some combination of them. They can drive you around the bend, getting stuck in an endless and ever-growing loop, and they can make you feel invincible. But rarely do you and another person experience the same emotions at the same time, which leads to…

communication.

Communicating emotions is difficult. Putting into words a feeling, an intuition, a sense of something, a gut instinct, is beyond hard sometimes. Not always. But often.

But communication in general is complex. How often does someone you know give you a back-handed compliment? “I liked your hair long, but this is okay too.” “You should smile more often, you wouldn’t look so serious.” “I always thought you were the smart one, but you’re the pretty one.”

It seems that for some people it is hard to say something positive when they speak. They simply must give an opinion that suggests you are not enough. I don’t know if this is because they don’t feel like enough, or if they truly feel that they’re simply telling you the truth, or if they feel like they’re helping you in some way. But it always leaves you feeling less-than. Kind of like that pair of underwear that looked great in the store but manage to wedge themselves uncomfortably in your colon.

When emotions are involved, it can be hard to reassure someone else, to lift them up and make them feel good, particularly when you’re feeling low yourself. It can be hard to move beyond your own emotions in order to give someone a simple, uplifting comment. But you know what? You should. Because by lifting others, we get a rise ourselves. It’s part of karmic energy exchange, and the more you relate gently and positively toward the world, the more it does the same for you.

That may be easier said than done. After all, we’re complex creatures with complex ways of interacting.

Today’s question:

How do you relate emotions? Are you an exploder? Are you an advice-giver? Or are you an uplifter? What communication style do you prefer? Are there emotions you find particularly difficult to relate or deal with?

Song: You Were Afraid by Night Beds

Book: Helen of Troy by Margaret George

 

That Bastard Inner Critic

There’s a saying, something about being your own worst critic.

As a rule, I don’t let anyone read my writing. I don’t have beta readers. I don’t ask for feedback or comments.

I write it. I read it. I touch it up. I send it in.

And, generally, I don’t read it once it has come out in an anthology.

Now, I’m an editor. That’s what I do for a living, aside from teach writing. I know how important feedback can be. I know the comments from a beta reader can be invaluable, and another set of eyes can catch mistakes you didn’t see.

But no.

I was asked today why that is, by someone who is more than willing to beta read for me. (Note: if you’re not sure, a beta reader is someone who critiques a piece of writing for you. They offer constructive feedback about things that might not be working for your story). And of course I needed to ponder it.

When I was young, I wasn’t so different. I would submit my work to competitions, but I wouldn’t share it with friends. And many years later, I called my ex to say I was upset I’d gotten a B on a writing assignment. Her response? “Well, you’re a B writer. You’ll never be an A writer.”

This is the first time I’ve thought of that conversation in years. But I think it had a profound effect on me. And now, in the midst of my PhD where I have yet to hear anything good about my writing in the two years I’ve been at it, I’ve become extremely unsure about my writing. Frankly, I’m so convinced it’s crap that I’m finding it difficult to write at all. But years ago I promised myself that I would get at least one short story published a year, and that means I have to write at least a few, so that I keep my writing and creativity going.

This year I’ve got at least two scheduled, which is nice. No one has read them, of course, other than the people I submitted them to.

Newsflash: I’m really, really sensitive.

No, really. I am.

And the thought of people I know, people I respect, people whose opinion matters, telling me my writing is shite, is devastating. The faceless masses don’t frighten me, because I don’t know them. They’re entitled to their opinions, and they most likely will never tell me what they think of my story anyway.

Today’s Question: How are you at taking criticism? About your writing, or anything else? Do you have certain people who read for you, or are you happy to share it all over the place?

On the Go

I’ve had this blog for just over five years now, and I’ve hit a slump. There are only so GettingThere.T3.Trains.window-photomany times I can talk about how busy and stressed I am.

But, well…

Actually, because I’m constantly under the gun, and I know how crazy this year will be, I’ve been working on getting organized. Like, I’ve done a yearly calendar so I can see the whole year planned out. I’m pretty much booked up through October, and it’s only January, so that doesn’t leave a lot of wiggle room for things to just drop in. But at least I’ve got a plan, of sorts.

Also, I’ve been asked to run a writing retreat in Florence, Italy in June. Which of course is something crazy-exciting and much looked forward to.

So, so far the travel for the year looks like this:

Feel free to sign up for the retreats–the May retreat is sold out, but there’s still room in Florence and Spain in Oct.

I began this blog with the idea of talking about writing. But I haven’t done a whole lot of that. So I’ll be posting a bit more on the writing front. Anything you’d be particularly interested in?

Tomorrow I’m off to Belgium for a long weekend away. I love travelling (obviously) and I’ve never been. I’m also taking the Eurostar, and I LOVE taking the train. There’s something so old-world sweet about it.

So, I’ll post a bit about Belgium, and I’ll see you when I get back.

Song: Takin’ Back my Love by Enrique Iglesias

Book: The Golden Fleece by Robert Graves