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Ungrounded

  • Posted on January 14, 2017 at 6:24 pm

I find sometimes that going back to the days when our autonomy was not our own, but directed by our parents and guardians, can sometimes help out with a mental state. Now, I’m not advocating anything kinky here, I’m talking about being grounded. You see, for the last 27 days, I have been grounded from writing. Yes, you read that correctly. I, a grown woman, allowed myself to be grounded from something I love doing.

However, the reason behind the ‘punishment’ is the important part. You see, I was grounded from writing because I had a very special sort of writer’s block. The kind where you hate everything you write. The kind where you believe it all to be pointless tripe and terrible dribble. The kind where you start to wonder if you’re meant to be a writer in the first place, or if you should just give up and run away to join the circus.

My best friend came up with a solution. “You’re grounded from writing for a month.” She said to me one day after I almost burst into tears for the billionth time over my works-in-progress. Of course, I tried to negotiate. Can I collect prompts? No. Can I blog? No. Can I write down my dreams? No. Damn, that one was hard because most of my story ideas come from dreams I’ve had. I was cut off entirely. No writing, except in a journal.

The first week was a relief. It was like something heavy had been lifted from my throat. I was free, and it was all thanks to my best friend, who had seen that writing had become something awful for me. I had hated everything that came out of my fingers, and she had seen it.

The second week, I started to get antsy. So I asked if I could read books on writing. She said that would be fine. So I downloaded a book called “Writing Magic” by Gail Carson Levine, one of my favorite authors. Listening to it give me prompts for writing ideas, I started to feel an itch in my fingers.

This third week was hell. I wanted to write so badly I was formulating ideas for the stories I have in the works without any thought whatsoever that this was technically cheating. I even wrote down one of my dreams (I broke my word, how awful!) because it makes a good story prompt. I immediately felt guilty, after all, but when I confessed to my bestie, she said she’d honestly forgotten that she’d grounded me.

Today, I asked, begged, pleaded even with her over whether I could be allowed to get back on the writing train. Because I was going insane. Nothing filled my time the way writing did. Nothing made me feel productive and happy the way writing did. I’d found out that without writing, I felt like I was nothing. Before, I’d been writing as a way of ‘beating my mother’. Now, however, I’m writing because if I don’t, I feel useless and listless and just plain droll.

Not to mention, I was starting to run out of things to read.

So if you ever find yourself loathing everything you write with every fibre of your being? Find someone to ground you from writing. It might just show you how much you love it again.

Examples of Diversity in Writing

  • Posted on December 10, 2016 at 8:31 am

With the advent of recent shows in diversity, and to combat the fear of that diversity leaving in the face of certain leaders, let’s rehash some recent boons in Diverse writing! I’ll be linking to several good articles on each section, as well as writing up my own experiences with it.

We can learn something from these giants, and we absolutely should!

Hamilton – Race in Theatre

Ever since Hamilton received a record 16 nominations for Tony Awards, it’s been clear that the diverse cast had something to do with it. Telling a story about white individuals using black individuals as the actors has turned out to be an outstanding way to support people of color and impoverished communities as well. It proves that no matter what the source material, ability should dictate who gets a part, not race or body shape or anything else.

  1. Hamilton Fans Flock
  2. Hamilton Cast – “We are the Diverse America”
  3. What does Hamilton tell us about Race in Casting?
  4. No, Hamilton’s casting call is not Reverse Racism.

Legend of Korra – Bisexuality

Legend of Korra is the hit sequel to Avatar the Last Airbender, and boy howdy, did it hit hard on the radar of all the sites I frequent. In fact, the final couple, Korrasami (Korra+Asami), seems to be a warning for conservative television. That is, your days of heteronormative television are over. Now, I personally didn’t make it tot he end of that series (Mako made me want to throw something at my television in the hopes it would hit him) but that doesn’t mean that you shouldn’t. It’s a masterpiece of writing, and I think you should absolutely watch it, if you want to be an author.

  1. Korra goes beyond bisexual representation
  2. Thinking of watching Korra?
  3. And the Korra Wiki

Undertale – Gender Diversity

(Spoilers ahead)
In Undertale, the main character, Frisk, is always referred to as They. Not only that but all of the children are referred to as they as well, except the Prince, Asriel. The ghosts are referred to as They. This use of the third pronoun, They/Them, is very unique, in that it was clearly a premeditated choice on the part of the writer, and yet it appears as easy as breathing air to the main characters and their cohorts. This sort of gender inclusivity is rare. Not only that, but there is a character that clearly represents the transgender struggle. If you’re familiar with Mettaton, try looking up the Meta (Get it?!) around his creation. Beyond even that, you have Undyne, who slays gender roles, Papyrus, who shows us it’s okay to be effeminate and cook and still be a badass bone brother.

  1. Undertale Science Lays it out for us
  2. An interview with Toby Fox
  3. Gender Identity in Undertale via Reddit

Yuri on Ice – Homophobia and the Lack thereof

One of the greatest shows in the Fall 2016 lineup, Yuri!!! on Ice is a sports anime about figure skaters. Yuri, Victor and Yurio are the three main characters, but even Yurio falls away when compared to the wonderful love story unfolding before us. Victuri (Victor+Yuri) is a healthy romance for the years ahead, and one for the storybooks, in my opinion. But what is incredibly vibrant about the show isn’t just the love between it’s two leads, but the fact that NO ONE IS SHAMED FOR IT. There is no homophobia in sight! It’s proof that one CAN write a healthy, happy romance, without having to include the icky awfulness that our everyday reality pushes onto it.

  1. Yuri!!! On Ice! is the Skating Anime for Everyone
  2. Yes, Yuri!!! On Ice is as Gay as you Think
  3. Gender in YOI

 

In conclusion, go educate yourself, and have fun writing your diverse cast! There’s no reason to stick to straight white protagonists anymore, and certainly no reason to limit yourself. Dream big!

Writing Anime: Pokemon Go

  • Posted on July 23, 2016 at 5:13 pm

So, like most others, my life has been taken over by Pokemon Go, an altered reality game where you catch cute as hell pokemon and run around like a crazy person. Altered Reality Games are defined as ” an interactive networked narrative that uses the real world as a platform and uses transmedia storytelling to deliver a story that may be altered by players’ ideas or actions.” What this means is, it’s interactive and fully user-based. In this case, it involves walking and jogging around town to different landmarks, collecting items from those landmarks, and catching cute pokemon that spawn through out town.

Now, what does this have to do with Writing? Well, it explains a lot about fandom and how interacting with it works. We’ve seen a lot of examples of fandom interactions between those of us who create, and those who consume. Often times, those that interact with their fans generally make more sales, and also have more material with which to work. After all, what better engine of creation than several hundred rabid fans all coming up with theories like breathing?

In fact, some artists interact with their fandoms solely for this reason. Others, however, have fun with it, and generally just interact with their fans for entertainment. Then there are those who fuck it up royally while interacting, and somehow get accused of being predatory towards their fanbase (here’s looking at you, John Greene).

One of my favorite examples of an author who interacts with their fanbase is Andrew Hussie, creator of modern day Illiad Homestuck and Problem Sleuth. This is a man whose work has garnered him a fanbase capable of pulling together 1.2 million dollars in TWO. WEEKS. I saw the kickstarter (and donated to it myself) go from 0 dollars to $500,000 in 24 hours, all in anticipation of a videogame.

How did he do it? In-jokes. Good writing. MASSIVE character base. He opened his twitter and several other places for questions to his fanbase. He allowed them to interact with him, and they did. It was massive. In fact, there’s an entire in-joke within the fandom (Fat Vriska, for anyone who knows it) that was started when someone on Formspring asked him about the weight of one of his characters. Eventually, he was asked about Vriska. Which concluded in this glorious manner:

In one of the most glorious fuck-you’s I’ve ever seen, he declared this, and the fandom ran with it.

For more of these absolutely hilarious happenings, you can, of course go to Knowyourmeme.com, and read up on all of them. Or, you can attempt to track them all down. That could be a fun scavenger hunt!

Speaking of scavenger hunts, have you heard of CipherHunt? Well, the fandom of Gravity Falls has. You see, Gravity Falls is a disney show that made it’s fandom massive through the use of ciphers, mysteries and the sorts of things that make those particular fans go crazy. That is, an omniscient Dorito demon who makes bad deals. CipherHunt is creator Alex Hirsch‘s way of making his fans happy one last time. Even though the series has ended, he’s provided them a series of clues, and told them, go on, get hunting.

At the end of each clue is a souvenir/next clue. Now, this isn’t possible for ALL authors, obviously, especially if you don’t have DISNEY backing you. But the fact that he allows it, even though his series is over, shows you what kind of person ends up with a fandom that large. Playful people who love what they’re doing.

Rebecca Sugar, creator of Steven Universe, is another playful person who loves what she’s doing, and in so doing, interacts with her fandom. But she does it quite a bit less than the others on this list. Honestly, she just keeps an eye on what her fandom creates and says, and then sometimes makes nods to it in her show. This is the bare minimum, but because of the way her show works, it does wonders.

So, you might be asking, how can I become this sort of creator? What do I need to do to woo my fandom beast? Well, first of all, find the fans. If you have work out already, look at who bought it, and who likes it. Encourage these people to talk to you. Encourage them to create, whether fanfiction, fanart, or fanmusic. Encourage creation, and it’ll create itself around you.

Then, remember, no matter what you do, it’s not going to be perfect. Laugh about your mistakes with those who point them out. Or, like Hussie does, make them into injokes. Have a sense of humour, and openly enjoy the community growing around your works. Even if it’s only a few people.

And finally, be accessible. Don’t hide yourself away, because while that may work for people like Steven King, or George R.R. Martin, when you’re writing for the sort of demographic that likes Anime and Manga, you really can’t afford to.

Who knows, if you succeed, you just might end up like Ishida-sensei, the creator of Tokyo Ghoul, who got to share his joy at his new Pokemon with the fans of his work.

 

Writing Process Blog Hop

  • Posted on July 8, 2016 at 9:29 pm

Natasha Duncan-Drake has an interesting blog-hop going on which Chris Votey tagged me in. His most recent (and best, if I do say so myself) work, the Daygar Legacy, is an amazingly well-researched and well-written vampire romp through medieval europe. Definitely take a look. This is an interesting prompt as it is geared towards the how and why of the writing process, as individuals find it. The worst part of it, I think, is going to be finding two to three people to tag! Wish me luck!

Rules:

  1. Introduce who referred the blog tour to you
  2. Answer the following 4 questions:
    1. What am I working on?
    2. How does my work differ from others in its genre?
    3. Why do I write what I do?
    4. How does my writing process work?
  3. Introduce the people you’re passing this on to (3 – 4 people if possible who will then post a week later)

Well, let’s get started.

  1. As I stated above, I was referred by Chris Votey, who runs the wonderful blog Madness of a Modern Writer. He and I met via twitter, after I finished my first ever NaNoWriMo and got full of myself, thinking I could be a professional writer! He’s become a mentor and a very good friend to me, although our politics differ quite a bit. He’s pushed me to great heights in my writing and in the way I look at the world, and I honestly adore him. Check out his books Terran Psychosis and Scraping By, if you really want a good can’t-put-this-down read!
  2. Four questions
    1. I’m working on a lot right now, but with my current creativity block, it’s all a bit on pause. But the major projects are:
      1. The Kurylian Saga, an epic fantasy series with a male poc main character who has to learn how to forgive his most hated foe when they’re forced to work together;
      2. A Greater Love, a regency-era-set asexual romance novel that takes a lot of it’s plot from tribulations from my own life.
      3. an unnamed short story set in the victorian era, which so far is a romance between a human serial killer and a rakshasa.
    2. To answer this question, i have to explain the very first actual story I ever wrote. You see, when I wrote it, there wasn’t really a genre for ‘the villain is the protagonist’. It just hadn’t been invented yet, really. So the fact that the first story I ever wrote featured an all powerful witch brought down to the power of a child and forced to relive her life so that she might learn the error of her ways means that I was already thinking ahead of the bell curve. I have always tried to be different, to understand other’s minds, to think outside of my own. So I think my work is different only in that I MAKE it different. I make it more inclusive, more daring, more open than others that I could name.
    3. The why of it is closely tied into who I am as a person. I’ve never really liked being me. Even in my earliest fantasies, my earliest daydreams, I was always someone else. So of course, when I get the chance, I’m going to make the main characters as different from myself as possible. Beyond that, however, is the fact that I’m always seeking the ways to see how others are JUST LIKE ME too. Perspective has always been a driving force in my life. Everyone has their own perspective, and I think that’s why I write what I do.
    4. My writing process is a bit hit and miss. Most of the time I start writing just before I have to go to bed. Procrastination at it’s finest. Of course, there’s a fine tradition of authors writing while laying down in bed, but I don’t usually lay down when I’m writing. I sit up, in my bed, on my computer, and open Scrivener. In scrivener, I pick up where I left off and start writing the next scene. I always do this, too, I always write linearly, despite having a program that lets me pick and choose. It makes it fit better in my head. I usually manage anywhere from 25 words to an entire 5000 in one sitting. During NaNoWriMo it can be even more.
  3. I tag Tunafax, who writes some of the most amazing fanfiction I’ve ever read! She’s writing a story right now called Witcher that makes some old fairy tales look tame. It’s a beautiful, gothic tale of wishes made and lives saved, and it’s absolutely gorgeous.
    1. Kudalyn was recommended to me by Tunafax, and she’s got an amazing repertoire of stories! Not only that, she’s adept at writing a drabble from a picture source. One of her favorite stories, Summoning Slifer, is a very nice look into a very not-human mind.
    2. Another amazing writer, Ashe, does an amazing job with description, levels even I aim to achieve. Her story The Living Daylights is amazing.
    3. And then there’s Ariasune (Alias for short) who should absolutely join us! Her work Akhet has that lovely touch of humor and tenacity that made me love Good Omens so very, very much. Definitely give her a read!
    4. And not tagged, specifically, but in a post that I took real interest in, Nana posted her writing process in EPIC detail.
    5. The person who tagged Nana made some good points in theirs as well. Empress, as she calls herself, has some lovely insights into the writerly mind.

I hope the three I’ve tagged have as much fun writing this out as I did, and will spread the love! You can read Ashe’s response to the tag here.

Write Now! 3 – Grimm Art of Fairy Tales

  • Posted on June 18, 2016 at 3:49 pm

Kate Bernheimer’s article on The Grimm Art of Fairy Tales  intrigues me in ways I can’t describe. Since I was a little girl, fairy tales have always been a big part of my life. I found comfort in the idea that, like Vassilissa the Fair, my mother would never leave me wanting, and like Snow White, my kindness and general likability would gain me safety. These small morals were the cornerstone to my personality. So of course, I’m obsessed with them now! However, after getting in touch with my love of horror and suspense, I find that the sweet, normal fairy tales of my childhood don’t quite… do it for me anymore.

And after reading Miss Bernheimer’s article, I figured out why. All of them lack something. They lack the original source. They lack the social commentary, the deep, terrifying moral of all fairy tales. Baba Yaga was a warning against disobeying your elders’ wisdom and, at the same time, a celebration of how that wisdom can, at times, be dangerous. Sleeping Beauty was a warning about how sometimes, not inviting the right people can ruin your entire life. The little mermaid did what Romeo and Juliet could not, and warned me away from stupid, single-minded love.

Intuitive logic, Flatness, and Happy endings, the article describes, are the three fundamentals of a fairy tale. to quote:

Intuitive Logic. The fairy tale world does not conform to the rules of this world, outside of a book, but it does have rules. They will not be explained with insistence. A teapot will sing. A path will appear just when children need to escape terrible danger. A girl will outsmart a witch. Your chopped off hands will turn into silver and save your life later. In my early fiction, my characters often argued with those around them that they were misunderstood; when I removed all efforts to justify logic (try removing transitions like “Therefore” and “Because”), my readers stopped arguing the stories were illogical.

Flatness. In many old fairy tales, characters are not very deep, psychologically speaking. Snow White, the target of murderous impulses by relatives (sisters or mother) does not suffer depression as a result. She does have responses however: fear, sadness, etc. They are logical and not lingered on deeply. There is nothing wrong with stories that explore ideas about psychological depth; I like many of these stories. Yet flat characters leave room for the reader. In the space left behind, one can think in new ways – Imagine new planes of existence. By flattening characters out, fairy tales exceed limitations of individuality, uniqueness, and self.

Happy Endings. Happy endings are underrated and misunderstood. In lots of old fairy tales, terrible things precede the beautiful images that begin and end most fairy tales; besides what’s wrong with a little consolation in a world teeming with senseless violence, poverty, grief? J.R.R Tolkien once defended happy endings as a vital technique in literature – reflecting, “Joy beyond the walls of the world, poignant as grief.” If I want to end a story about death with an image of a white horse running down a beach, as men in tuxedos and women in evening gowns wander drunkenly into the sea, leaving a pretty girl on the beach, counting pennies in the moonlight – if I can create poetic joy in the words – this is okay. […]

Fairy tales are storybook worlds. You can cast the spell.

The Grimm Art of Fairy Tales,  Kate Bernheimer

Her exercise then is to find a very short, very old fairytale, and break it down into these three instances. I chose Vassilissa the Fair, as it’s my favorite tale. It’s the story of a girl who’s mother, on her deathbed, gives her a doll and tells her if she runs into any trouble, to feed the doll and ask it’s advice. Since this is a fairy tale, Vassilissa of course runs into trouble.

Now, the intuitive logic here, is that the doll will in fact come alive. No one asks how. Or why. Just that the doll, when fed, comes alive and helps the one that fed it. And this help, invariably, always, helps her. When Baba Yaga tells her to clean her house, the doll has it done by the time Vassilissa wakes from a short nap. When Vassilissa runs from the witch, the doll tells her not to speak to the three riders on the white, red and black horses (morning, noon and night respectively.). And when Vassilissa at the first is sent out of her home to get a flower in the middle of winter, the doll is the one that tells her about the clearing in which she finds the 12 men (the months in order.).

Flatness is easy to find, since all we know about Vassilissa is that she is ‘fair’, meaning most likely blonde and pale.  We know she loved her mother very much. But we don’t hear Vassilissa’s thoughts. We don’t find out if she feels responsible for her mother’s death, or if she hates her stepmother and sister for sending her out into the forest each day. We never find out her feelings on Baba Yaga at all. And she’s wholly unaffected by the world around her. Vassilissa is little but a vessel for us to pour our own thoughts and feelings into.

The Happy Ending changes, based on who’s telling the story, of course, but my favorite is the one where the wicked sister goes out to get a blessing from Baba Yaga the way Vassilissa did, and never comes back, and the mother goes out to demand the men in the clearing give her flowers too, and never comes back. Vassilissa is left alone in her family home, to live her life. It’s not as surreal, perhaps as Miss Bernheimer would ask for, but it suited the story.

You can use this technique on any story really, and every story can benefit from these three instances of fairy tale progression. Remove attempts to describe the logic of your world. Let the readers just accept the premise of your story, and if they have questions? Well, that’s what Tumblr is for. Simplify or eliminate Character depth. It can always be added back in later. But for now, see how you can make room for the reader too. Don’t erase the tragedy, but afterwards, give the reader some odd bit of hope, like a pearl found lodged between an old man’s gums, which can then be used to buy passage onto a boat headed for a better life.

Now Write! Exercise Two – Genre Breakdown

  • Posted on June 16, 2016 at 4:03 pm

In Jule Selbo’s article “Choosing your Speculative Genre”, We learn how to pick apart and use genre and subgenre in order to build up and expand our plot-points and characters. She gives a few examples of how an overarching genre is good to have as a standing foundation, but that keeping in mind subgenres as well is  important for the overall structure of the story and the narratives contained within. One such example that she gives is Pixar’s Toy Story.

TOY STORY lives in a fantastical world where toys have full lives outside of humans’ interaction with them as objects of play. TOY STORY employs:

  • comedy (based in incongruity);
  • buddy (the ar of Woody and Buzz Lightyear as they go from adversaries to friends);
  • adventure (Woody’s goal of geting Buzz back into the fold before moving day is over); and
  • action.

Jule Selbo, “Choosing Your Speculative Genre”, Now Write

Her chosen exercise, after that, has four parts.

1)Decide your overarching narrative genre. Is it based in science or solely the author’s imagination? Is there a truly EVIL component to it, or is it a “scary” story that builds anxiety? These questions will help decide your main genre.

2) Construct a scene or situation set in the overarching genre so that the audience realizes they’re ‘getting what they paid for’. At the same time, weave in one or two of the main characters. People like to get to know characters.

3) List possible supporting genres. Consider how each genre would affect the story and characters. Which ones would ramp the plot up and which would make it fall flat on it’s face?

4)Frame the story in the overarchng genre. Build that scene at the beginning, and then Book End  it with a scene at the end, closing out that overarching theme. Do the same for each scene in the story. Make sure the audience feels connected with the genre they chose to experience.

For example, the build of my first novel, A Knight of Kuryle would go something like this:

  • Overarching genre: Fantasy (Magic is possible, creatures exist that don’t in our world, and the Moon God grants all wishes his followers pray for.)
  • Side Genres:
    • Coming of Age (Dirk’s journey from farmer’s son/child of immigrants to respected knight)
    • Adventure (Dirk has to find the murderer who burnt his village, and avenge the people of his village)
    • Buddy (Dirk has to win the trust of Jorgan, an orphan from his village, while the boy works through the emotions the destruction caused.)
    • Action (Dirk must confront and fight the enemy when they come for his new home as well.)

The first chapter of the novel introduces magic in an evil sorcerer who slays all the adults of his village, and then burns the village to the ground. Likewise, it is bookended by that sorcerer attacking Dirk’s new home, the capital of his country, and Dirk’s desperate fight against the powerful magic this sorcerer wields. Fantasy is woven throughout the rest of the story as well. From the always-prosperous city of Theon’s “Starlight Road”, to the matriarchal royalty of Kuryle’s religion-saturated nobility, fantasy lays in every part of the novel, and it’s subsequent sequels.

It’s easily applied to stories as-yet unwritten, too. My most recent labor of love, which has been tentatively named A Deeper Love, is a historical era regency  novel that I’m basing (loosely) after my own life. If I were to break it down, it would go like this:

  • Overarching Genre: Historical Fantasy (Regency Era specifically)
  • Side Genres:
    • Coming of Age (The main character, Dinah, leaves her small family, and the influence of her off-putting mother, for the bustling high life of london, and in so-doing, learns more about herself, and settles into a woman.)
    • Romance (I haven’t quite figured this particular subplot out, but it’s important, as I want to write the first asexual regency romance novel)
    • Slice of Life (Showing the lifestyles in Regency London)

Sadly, there aren’t many more genres in there. I might add in a comedy subgenre, but I’m not sure how yet. So there’s that. However, playing with the subgenres definitely helps define how the story is meant to go, and with what sort of inclination. I really do enjoy this particular assignment, so it’s definitely something I’m going to be doing more and more often.

Now Write! Excersise One

  • Posted on June 13, 2016 at 5:42 pm

I’ll be starting a new series, for however long I can keep this bookNow write! Science fiction, Fantasy, and Horror, edited by Laurie Lamson is a collection of short essays by quite a number of fellow writers, including Piers Anthony, Ramsey Campbell and writers for The Twilight Zone and Star Trek: the Next Generation. These essays are then followed by exercises, in which one stretches their writing muscles and learns from the best!

Today’s excersise was derived from Steven Saus, and we’ll be following it to the letter here. Feel free to read along.

Editing is a rewording activity!

  • Posted on May 18, 2016 at 10:42 pm

Forgive the pun, I like to think of myself as punny, occasionally. However, this particular blogpost is in celebration of editing! Specifically, celebration of a friend of mine who has opened an editing department for his publishing company. Since he helped me so greatly during the long, arduous process of drafts two, three, and four of my unpublished novel, “A Knight of Kuryle”, I thought I’d share that experience with those of you who were interested as well!

Now, the obligatory disclaimer. I was asked to write up this review, however, I have not received any services or payment for these words. Everything I say was true before this company ever started business, and I’m sure will continue to be true after I speak it, as well.

With the unpleasant business out of the way, now we can get on to the experience of having Chris Votey edit my works.

First, I would like to state that working with him opened up whole new worlds to my writing. I will admit, I began writing the same way all fandom-obsessed, fresh-out-of-highschool twit does. I started writing REALLY HORRID FANFICTION. Self-insters, authors notes, awful, AWFUL, chew-the-scenery descriptions, and a lack of forsight when it came to my world building that just generally wasn’t acceptable. I had a long way to go, and honestly, I’m surprised Chris stayed with me for as long as he did.

Chris didn’t just help me with moulding my words into something beautiful and sharp. He helped sharpen my mind, showed me new ways of thinking about what it was I was working with, working for, and gave me entirely new perspectives on how and why I should put the words on the paper. It’s thanks to his encouraging words and constant supervision that I was able to come to the conclusion that the book I was writing was not one book, but rather a series. It was thanks to Chris’ hard work at managing my mind that I realized a major plot-point in my book had been glossed over, when it could add so much more depth and beauty to the story.

I will not say that it was a quick or easy process however. I am a prideful woman, and honestly, I found sometimes that we would butt heads. The way Chris explains things can be… difficult to grasp. I found the trick was, like he said, to follow along with what he said, rather than attempting to jump ahead and make my own conclusions. The way he thinks, the way he writes, is very different from the way I think, and I find it has enriched my writing.

Not to mention he has the type of vocabulary that makes a girl breathless. That is to say, he knows so many ways to say so many things. He’s an avid owner of several thesauruses, including both the Positive and Negative Traits thesauruses. Which are extremely helpful when you come to him for help with characterizing a particularly difficult character, the way I had to several times.

All in all, if I had to pay money to get his help with making my works shine, I would scrounge, scrimp and save every penny, if only to have him touch my manuscripts again. I would go without food to do so, without a second thought.

Tsundoku – The art of reading too little

  • Posted on May 16, 2016 at 6:20 pm

Tsundoku: (n) buying books and not reading them; Letting books pile up unread on shelves, nightstands and floors.

Every writer has been given the talk about how in order to improve your writing you should do one thing above all else. Read, read, read. And how many of us end up in tsundoku? How many of us leave these words to sit on the page, undiscovered, untapped, unlearnt? However, I’m not here to talk about how much we should be read, read, reading. Today I’d like to talk about joy.

Specifically, the joy of discovering a new word. You see, I had never known tsundoku had an actual word tied to it. I had just thought that letting books you meant to read sit and collect dust required just the whole thing said as I have just said it. To have it broken down into three syllables, a few hiragana, a few kanji, and to finally learn it, it’s a sort of joy I’ve only recently found.

As with my absolute favorite word, sonder, I found a sudden sense of wonder at the world around us, and the words in which we use to describe it. Since, I have added a list in my bullet journal that I call ‘New Words’. In this, I have collected several words that have caught my interest and that I’m attempting to use in every day life and in my writing. Along with it, I’ve included a few other lists. “Word roots” to teach myself more about the roots of these beautiful words we use to communicate. “Daily details” to record the symbolisms and tiny beauties in my daily life. “Six word stories” to begin practicing brevity.

These are things I want to incorporate into my life so that I never lose the childlike wonder I had when I first cracked open a book and then devoured it in a single afternoon. I hope to never lose the wonder my child-self felt, but sometimes I feel it slipping away. In those moments, little discoveries like this bring it back forthwith.

I leave you with a list of places to search out new words:

Old Findings 1

  • Posted on April 15, 2016 at 1:16 pm

As part of my new life choices, I’ve been going through the storage unit that stores everything I own, and I’ve been deciding what to keep and what to throw away. Taking a minimalist approach, anything that I couldn’t think of a use for (minus sketchbooks and notebooks) was thrown away or donated. However, in so doing, I’ve come across a lot of things from my past. Including some things that I’ll be sharing with you guys here.

Specifically, I found several papers I wrote in highschool, and some speeches I wrote in college, that I’ll be transcribing up onto this blog so that you all can laugh at teeny-bopper me. Also, so that I can see how I’ve progressed since then.

Starting first with a paper entitled Journal 2, which contained the prompt, “Imagine if you were the sole Survivor, write your story.”

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