Category Archives: Writing

Mostly over Submission Anxiety

Well, it has been nearly a week since I submitted my application to the current class of Viable Paradise and I think my emotional state if almost back to baseline.

I will admit that yesterday did not feel good, but I had a mild migraine start up while I was at the day-job and it turns out the supply of medication I kept in my desk had been exhausted. I suffered through the entire shift finally making it home to grab the needed pills to banish the pain.

Given the level of pain, enough to disrupt my thinking but not severe enough to send me home, I was unable to compose new text for my novel in progress but I did manage to edit two chapters so work has progressed.

Here’s hoping that today will be a more productive day.



This is Different

I was going to do a political posting but last night changed my mind.

What happened last night? I finally put together all the materials needed and submitted to the Viable Paradise Writers Workshop.

I have written about the workshop before but for those who do not know what it is here’s a quick run down. Viable Paradise is a week-long workshop taught my industry professionals. That have 24 slots so getting into the workshop is a competitive processed where prospective students are judged on submitted writing samples. If selected you go to Martha’s Vineyard, the same island where JAWS was filmed, and spend a week in the hotel with the others students and the instructors. In addition to making through the selection process there is also a matter of tuition and hotel expenses. After watching the process for years I am finally in a position to hopefully go.

The writing sample, the application letter, and the entry fee were all paid last night and as soon as I hit that submit button, man I love electronic submissions, my heart raced. Unlike submitting stories to a magazine, a novel to a publisher, or samples to an agency, this has gotten me unsettled and nervous.

Scoring a posting into the workshop will be a good thing for me and my writing, I believe that, but it is also frightening. There are a number of factors feeding into my fears.

Social Anxiety – Put me on a panel or even by myself in front of a room of people to do a presentation and I am just fine. The sort of public speaking and presenting that many find terrifying does not bother me. However, one on one and in small social situations I lock up and I suffer anxiety. I have been described as a shy extrovert and there’s quite a bit of truth to that. At the workshop it’ll be a small group of people and while i know I can adjust there’s the fear I will not.

Performance Anxiety – Oh, The idea that I am not as good, or talented as the other students is not an anxiety that is just mine. I know that most people in the situation would be feeling the same thing, but it still grip my heart and powers my doubts.

Separation Anxiety – I have a deep support network of friends and of course my sweetie-wife. We do not take separate vacations and our day-job do not require us to go on trips away from each other. If selected for the workshop it will mean a week away from my friends and from my sweetie-wife. This too fuels my anxiety.

And despite all this anxiety I am excited and hopeful. It will be a nerve racking two weeks as I wait to find out if I am selected and then the nerves will continue if I am.


Working Weekend

My routine in approach to my fiction writing is to work Monday through Friday, treating the output like a normal job. I then take the weekend off, while my brain can’t be shut down and will continue to turn over characters, scenes, and plots, I do not edit or compose on Saturday and Sunday allowing myself a rest.

It is during the weekend that I’ll spend time playing games with my friends and my sweetie-wife, or on the computer, go out to the movies, and just make some popcorn and watch a film late at night. These work free times are critical to my productivity.

This weekend was the exception to the rule. While I certain spent time with friends and my wife, I also spent a number of hours working on the current novel in progress. The deadline for applying to the Viable Paradise Writers Workshop is the 15ths and part of the application process is a writing sample. I decided on submitted chapters from one of my novels, but now the question becomes which one.

There are two contenders since the sample can’t be from a piece that is currently under consideration for publication. One novel is finished; it’s just down to catching the typos and the like. That one has gotten a strong positive reaction for its first chapter from my agent. The problem is that should I be accepted to the program by the time I fly out to join the workshop and get feedback on the piece submitted, it will already be long finished and in my agent’s hands, making feedback a little pointless. (Though always useful for future projects.)

The work is progress is new. (Albeit a sequel to the novel my agent is currently shopping.) I spent the weekend giving it a close edit, taking it from a rough draft to polished. If I submit that by the time October rolls around I should be close to and eve just finishing the project, a perfect time to get feedback. But is this piece strong enough to win me admission? It is untested. I haven’t even read a single scene to my local writing group.

I am handing the edited chapters of the work in progress to my wife so she can review for typos and grammar, plus having worked on both she can give me her opinion on which is stronger.

However, the decision is mine and I need to make it tonight so I can submit tomorrow.



A Roadmap not Train Tracks

I work from an outline and my current Work in Progress has the most detailed outline I have yet produced for a novel, 85 pages. I also work from an act structure. I used to be a three act sort of writer, Establishment, Conflict, Resolution because it tracked so easily onto western narratives but fairly recently I became a fan of the five act method. (Establishment, Rising Action, Point of No Return, Spiral out of Control, Resolution.) Between those two elements of pre-writing you might think that when it come time to put it all together the process would be fixed, and for some writers that is true, but my process still remains fluid.

My acts and my outlines do not put me on a set of narrow gage railroad tracks carrying inexorably towards a fixed destination. Rather they act like roadmaps, giving me the ability to peer ahead and navigate the terrain to reach my destination. Sometimes I even find that the basic structure as originally envision is in error.

Last night as I worked and neared completion of Act one for the new novel I stumbled across the realization that what I had conceived as the end of Act one simply had nothing to do with the actual organic structure of the act.

Act one started with the characters central story dilemma, the thing that is at the heart of is problem, and it ended with him taking command of the starship that will be the setting for the rest of the story. That taking of command is a very dramatic moment in the character’s life, representing an achievement that he has sacrificed much to achieve, and it has nothing to do with the story or plot structure. It would happen even if the character sat back and did nothing for the entire first act. His earning of the command has been laid out and paid for with the first book in this series.

What the character has been driving for and fighting for in the story so far is the obtain a particular mission for himself and his first command. A mission that he thinks will bring him a resolution to certain problems but in fact will only add to his physical and psychological dangers. It is when he gets the mission, when he thinks he has achieved a goal but instead has actually raised the stakes that the story transitions from Act 1, Establishment, to Act II, Rising Action.

You can spend weeks writing an outline, months thinking on structure, but when you actually start writing there are plenty of elements still to discover.


Setting vs Genre

At a fellow writer’s Facebook wall we’re discussion the elements required for a story to be noir. Because we are SF writers the conversation naturally revolves about the intersection of noir and science-fiction. This has gotten me thinking and those and a few other terms and I’ve come to the conclusion, probably not original, that there is a difference between Setting and Genre

In this concept Science-Fiction is a setting, it has particular rules that govern its use and violation of those rules can lead to some and even most people excluding a piece from the setting definition, but it seems to me that genre is more about what is the intended or likely emotion reaction of the reader and as such is independent of the setting.

Lois McMaster Bujold’s Shards of Honor was, according the author, written as an SF/Romance. The setting is science-fiction, the far future, humanity spread out among the stars broken into new nationalities. The genre is romance, the story of two people divided by their warring cultures and yet who fall in love.

Alien is Science-Fiction/Horror the setting is clearly sf, a spaceship deep into space. The genre is horror as the characters, trapped aboard their isolated spaceship, contend with a monstrous being.

Back to the Future is science-Fiction comedy the science-fiction elements, a lone scientist, time travel, are clear while the story is a farce about the clash of perception versus reality when it comes to one’s own parents.

All three of these works are Science-Fiction but looking at them simply through the lens of their setting tells us very little and nothing at all about if these are stories we want to experience. It is only when we examine to the mood intent of the piece, romantic, horrific, or hilarious that we can gather these disparate works into recognizable useful categories.


Representation Matters

Popular art reflects the culture from which it sprang. It is this basic fact that underpins the concept that representation in the arts is important. How people of all types are depicted in the arts both reveals the cultures attitudes towards those people and how those people see themselves within the culture at large.

In my book there is a world of difference between representation and bean-counting. The latter is simply plugging is a person of X characteristics to simply say that those characteristics are in the work. Bean-Counting takes no notice of character, reducing people to tokens for fulfilling quotas. Representation is about having characters realized to your fullest ability who happen to encompass a broad range of traits and characteristics. Both require conscience effort on the part of the artist but one makes for better art and more honest representations.

Representation matters because art effects those who consume it. Not only the dominate member of a culture but those who are not in positions of authority or respect. People internalize the depictions that they are exposed to and those internalizations warp the self-image and behavior of all who take them in.

Representation matters because without it we have a terrible waste of talent and resources. We need artists of every stripe participating in the communal village. Even voices you do not agree with, particularly voices you do not agree with. There was a time when the concept of individual rights was the dangerous new idea that the old order tried to extinguish. What uplifting and revolutionary thought is waiting out there?


And a New Novel is Started

Today I begin writing my next novel. Not outlining, not world-building, no engaging in character creation and study, words in a row, prose production, actually writing the book.

This may effect my productivity here on the blog but I am going to struggle to keep that interference to a minimum.

My production goal is 1500 words per day minimum with a stretch goal of 2000 words. I am shooting at a 90,000 to 100,000 word size for the book so it should not take too long.

For those in the know this is another Seth Jackson novel, about an American serving in the European Union’s Starforces. Set in a future where America took a wrong turn early in the 21st century and ended up a third rate power and humanity has expanded into the local stellar area still shackled by their bickering nationalities.

The first book in the series landed me an offer of representation and I look forward to spending time again with these characters.



They’re More Like Guidelines

What Barbosa said of the pirate code in Pirates of the Caribbean: Curse of the Black Pearl is equally true to any ‘rule’ of writing.

No art has hard inviolate rules, but there are guidelines that experts knows, understand, and ignore with the knowledge that the ‘rule’ doesn’t always apply.

Take ‘Show don’t Tell.’

As I have expounded on with other essays there are loads of time when tell is the better option than show. Understanding s=why you show vs tell also informs you as to when you tell versus show.

Cut out of adverbs and or adjectives.

You know those words with the pesky -ly endings that pop up so easily when you are drafting prose. in many cases that -ly words weaken your sentences. In the case of the adverbs it is usually the case that another verb works better rather than altering the verb you have selected. Yet there are times when going to the -ly word is fast and punchy compared to perhaps a longer and more complex composition.

Start with the action!

Sure starting your short story or novel with a weather description can be deadly dull, but there are light-years of difference between a dull weather report and something sets a mood and an expectation. A proper mood at the start preps the reader for the experience, laying down the authorial promise of competence and a tale that will be told correctly. An additional danger of starting right away with big action is that without prior knowledge of the characters it is likely to come of as flat and interesting. Action is meaningful and emotion when it has consequences and it can only have consequences if we are invested in the characters.

These are just a few of the ‘rules’ for writing, there are many more and they should all be viewed with a suspicious eye.


Harlan Was Wrong

Harlan Ellison is a powerful voice in speculative fiction, a celebrity within the genre subject to countless second-hand stories, and the credited writer in what is arguably the best episode of Star Trek, The City on the Edge of Forever.

It is a well know within the industry that Harlan was -displeased- with the final version of City and that identity of the person who re-wrote his screenplay into the final version was a secret for decades. (Eventually it was reveal to be the show’s story editor D.C.Fontana, a fantastic writer herself.) I have read both the final version and Harlan’s original script, published as part of his book about the experience.

There is no doubt a number of major changes were made to the script, some of them lost touching moments of history, some of the added wonderful moments of comedy, (Stones knives and bearskins) but the greatest change and the one that appeared to upset Harlan the most involves the story’s resolution.

Quick recap of the story: Kirk and Spock have followed McCoy through a time portal to the great depression where McCoy, under the influence of an accidental drug overdose, somehow alters history and prevents the formation of the Federation. They discover it is because he saved a woman, Edith Keeler, from a traffic accident and she prevents the US’s entry into WWII, leading to a Nazi victory and a new dark age.

In Harlan’s original vision, at the moment that the truck is barreling down on Edith, both McCoy and Kirk, Kirk because he has fallen in love with the idealistic pacifist, rush to save her, but cold, emotionless Spock holds them back, dooming Edit and saving the future.

For the Broadcast Version when the truck speeds towards Edith, it is Kirk, though in love with her, that restrains McCoy, killing Edith and saving the Future.

Harlan has said that in his opinion it makes sense for Spock to be the one to hold the emotional men back, that he is the only character capable of taking the required action and there is a powerful logic to that argument.

However logical, I think it is weaker storytelling to have Spock force the issue. To me the most important and powerful stories are about characters, their choices, and the consequences of those choices. Spock saving the future is a foregone choice, hardly one at all. The consequence to Spock is that he may damage his relationship with these two humans, but given his unemotional nature that is hardly a consequence of importance compared to the entirety of history.

Kirk making that choice is much more powerful. He is a man of passion and emotions, the abstract future weighed against the very real woman he loves is an agonizing choice. The consequences are personally devastating and irrevocable. It ranks right up there with Sam Spade sending Bridget over for killing Miles Archer, but has even more of a gut punch because Edith was pure and Bridget was evil.

No, the better storytelling device is Kirk torn and making the decision that will haunt him to the end of his days.


What’s My Motivation?

It is an old and tired cliché; an actor demanding of the director ‘what is their motivation?’ The actor is asking the wrong person, but sadly in filmmaking the screenwriter is too often shunted to the end of the production priority queue.

However all writers, screenplay and prose, should take this question seriously and ask it of themselves repeatedly. You see what the actor in the cliche is seeking is their character’s goal, usually one that is bound to the scene in question.

For a scene to be about something, someone has to want something and they need to either get it, or fail to get it. The consequences of that want and its outcome drives the action of following scenes and the story. If an actor is asking about their motivation then their character is likely lacking a clear goal and the scene may be nothing more than exposition.

If as a writer you find that it is difficult to write a scene, if it seems to lie lifeless on the page, perhaps you have neglected to give the character a need and something that is denying the fulfilling of their desire. Look at the scene, the characters, and ask the critical questions of storytelling.


What do they want?

What’s stopping them from having it?

How far will they go to get it?


Keep this in mind, know the answers cold, and your characters will drive the story forward.