Karen Sandler

Category: Books

  • Why I Can’t Write Your Story

    I got another one of those e-mails the other day. If you’re a published author, you’ve probably received one or two. It always starts out with some variation of “I have the most incredible story to tell, and it’s all true.” Or the writer will state, “It’s like a cross of Popular Book A and Popular Book B, except better.” And somewhere in there it will say, “I’m not a very good writer, so that’s why I’m contacting you.”

    Even if they don’t spell it out, the intention of the person who sent the e-mail is clear. They think their idea is so terrific that they want me, Ms. Published Author, to write it as a book. They believe their idea is so great that they’re sure I will jump at the chance to write the book on spec (i.e., with no payment) for the opportunity to make big money down the line.

    I usually ignore e-mails like this one because it’s never something I want to pursue. There’s never anything in the e-mail that tells me the person is a fan of my work. They just found me on the web, or in a listing of authors somewhere and threw out an e-mail to me.

    In the case of this particular e-mail, I did respond because of one line: “I am completely clueless how to get started, or where to go with this.” That meant to me that although she claims she’s not a very good writer, she was open to information. And it turned out I was right. When she responded to my e-mail, she was grateful for the information I’d passed on.

    Here’s a little of what I told her, and a few other points:

    • Professional writers don’t work for free. If we don’t charge for our work, we can’t make a living.
    • I have no shortage of ideas. I’m not looking for ideas from other people. In fact, I wish I had the time to write all the ideas that are floating around in my own head.
    • Ideas are actually the easy-easy-easy part. Constructing a novel-length story around that idea is what’s really hard and time consuming.
    • Sometimes people’s life stories aren’t as interesting as they seem to the person who lived it. Not to mention you will have to fictionalize parts of it to make it fit into the above mentioned story.
    • If your life story truly is that interesting, you ought to be the one to write it. Because you are the one most passionate about it. Because you’re the one who really cares about it.
    • Sometimes people say they’re not very good at writing when they really mean they don’t like to write. And maybe they don’t like to write because they were never properly taught how. The best solution to that is to take a class–at your local community college, online, at the library, wherever you find one offered. Learn enough to see if you actually do like writing, then you can write your story yourself.

    What if this person does learn the craft of writing, writes her life story, and it turns out to be so fantastic she gets a giant book deal? I will be thrilled. I’ll be proud that I might have had a tiny bit to do with that. But truly, it will be her own hard work that got her to bestsellerdom. And that will make the victory all the sweeter for her.

  • RTW – Writing and the Change of the Seasons

    This week, YA Highway‘s Road Trip Wednesday asks, How does your writing (place, time, inspiration) change with the seasons?

    It’s a great question but I’m afraid I don’t have a particularly great answer. As a writer, my routine is kind of boring, and, well, routine. I don’t change anything with the seasons.

    I just sit at the same computer, in the same office, and whether I’m under contract and working on a deadline, or writing some spec piece, I just…write. I work nearly every day. There are times I take a break (like between contracts) when I go a few days or even a week or so without writing. But then a new contract starts or I settle in on a new spec project and I’m back to the routine.

    Ye Olde Grindstone

    I confess, I’m not exactly sure what I would do differently. I don’t find any particular season any more inspiring than another. If I’m on deadline, I just work. I do dislike deadlines that around Christmas (like if something is due in January), because I just want to kick back and bake cookies and decorate my tree and enjoy the season. But it’s not like I suddenly get ideas for holiday stories.

    Am I boring or what? At least my son, who’s got a YA circulating out there and is currently working on a MG book, goes out on the back deck to write on lovely summer days. I just stay in my cubicle, taking root and growing mushrooms between my toes.

    I really want to hear from other people on this. Do you have a seasonal ebb and flow with your creativity? Do you write differently at different times of the year? Drop me a line. I’d appreciate a break from my grindstone.

  • Dialogue vs. Scene

    When does dialogue constitute a scene? If two or more characters are talking to one another about elements of the story they’re featured in, is that a scene? And if it is a scene, how much of it can we include on the page without interspersing it with action?

    To me, a scene is where something is happening. It’s a visual depiction of that something. It must be pertinent to the story and move it forward, but if there’s something important to your story, I fervently believe it should be shown and not talked about.

    Of course, dialogue does have its place. I recall learning (back in the Dark Ages when I first started writing) three rules about dialogue. Dialogue should do one or more of the following:

    •     Convey character
    •     Reveal information
    •     Move the story forward

    So, yes, you could have some number of characters in a room talking, characterizing themselves with their word choices or tone (e.g., using plenty of slang & f-bombs, or more erudite language), revealing information (e.g., that they saw Col. Mustard in the library with a hammer), and moving the story forward (e.g., I’m pregnant, and you’re the father). But if it’s just folks talking in a room, is that really the best way to use dialogue?

    The issue is really how much of your book is dialogue in a static place and how much is action that either leads into that dialogue, or action that follows that dialogue. If your story is fast-paced, with your characters constantly in peril, it’s great to have scenes in which they can take a breather, to sit together and just talk and regroup. James Rollins Map of Bones is a good example of that. Rollins places his characters in one dire situation after another, but there are revelations that they have to have time to chew over. So they get to safety and work out what those revelations mean, providing the reader with information, characterizing the characters, and moving the story forward.

    Here’s a dialogue example from my book, Tankborn. I’ve taken most of the action out of the exchange between Kayla and her nurture brother, Jal:

    “Tala’s out,” Jal said, “cleaning Spil and Zeva’s flat.”
    “Then we have time to change and get the river sludge out of our clothes.”
    “What about this?”
    “I’ll doctor it. If she asks, you slipped climbing down the riverbank.”
    “If she’s tired enough,” Jal pointed out, “she might not even
    notice the scratch.”
    “She’ll notice. She just might not have the energy to push it.”
    “Tala shouldn’t have to work so hard.”
    “You volunteering to stop eating? We could save plenty of dhans not paying for the kel-grain you inhale.”
    “I mean, the trueborns should give her a new baby so she won’t have to clean flats.”

    As written above, it’s not really a scene at all. It’s just two talking heads. Here’s the same excerpt with the action included:

        When Kayla slipped into the twenty-ninth warren, Jal was waiting for her by the stairs. “Tala’s out,” Jal said, “cleaning Spil and Zeva’s flat.”
    Kayla brushed past Jal and up the stairs. “Then we have time to change and get the river sludge out of our clothes.”
    “What about this?” Jal tapped the scratch on his cheek.
    “I’ll doctor it. If she asks, you slipped climbing down the riverbank.”
    “If she’s tired enough,” Jal pointed out, “she might not even notice the scratch.”
    “She’ll notice. She just might not have the energy to push it.”
    Jal crowded up past Kayla and walked backward up the stairs. “Tala shouldn’t have to work so hard.”
    Kayla slanted a look up at him. “You volunteering to stop eating? We could save plenty of dhans not paying for the kel-grain you inhale.”
    Jal gave Kayla a poke. “I mean, the trueborns should give her a new baby so she won’t have to clean flats.”

    With the interspersed action, the dialogue becomes a scene. Not so much a whizbang high-action scene, but we get a sense of place, and a sense of the relationship between Kayla and Jal, as well as revealing information about their nurture mother, Tala.

    If you’re a writer, how do you handle dialogue to avoid the dreaded Talking Heads Syndrome? If you’re a reader, what do you think of dialogue that’s independent from action? I’d love to hear others’ opinions.

     

  • RTW – Best Book Read in September

    As it’s the last Wednesday of September, YA Highway asks what’s the best book we’ve read this month. It’s a bit of a blur as to what books I read in September. I might have finished a Lois McMaster Bujold SF book early on. Part of the month I’ve been doing a beta read on an urban fantasy for another writer in exchange for her beta reading my YA paranormal. I’ve also been busy working on the synopsis for Revolution, the third book in the Tankborn trilogy. Plus I was a little under the weather so I didn’t read as much this month.

    But I did make time to read James Rollins excellent thriller/adventure novel, Map of Bones, which is part of his Sigma Force series. While I’ve read a number of other books by James, this is the first Sigma Force book I picked up, and it wasn’t the first in the series. But he doesn’t leave new readers of the series confused about who is who and what Sigma Force is. Although he jumps right into the action, he introduces the characters in a nice balanced way so that new readers can get to know them, and returning readers aren’t overwhelmed by a data dump they don’t need.

    For those who love intriguing twists and turns, who like learning about arcane bits of history (in this case, of the Vatican and the Catholic Church) made fascinating by a breakneck plot, who like cool gadgets and clever characters, you’ll love this book. His ensemble of characters get into some dire fixes, are surely doomed, can’t possibly succeed, but a new twist and their quick wits pull them out of disaster.

    If you’re squeamish about violence, fair warning–this book has its fair share. Map of Bones doesn’t contain nearly as much on-the-page gore as say, Lee Child’s books. But it opens with a pretty hard-to-take scene for a wimp like me. I kept reading and I’m glad I did. It’s a great read.

    How about you? What did you read this month?

  • RTW – Fairy Tale Remake

    This week, YA Highway‘s blog prompt is to name a fable or story we’d like to see a retelling of. We’re also encouraged to be creative and come up with our own version.

    I have always been fascinated with fairy tales and fables. I even played around with an updated retelling of Cinderella in one of my romance novels (His Make-Believe Wife, under my pen name, Kayla Russo).

    I’d actually intended to write a few more fairy tale-based romances, and had even started one based on one of my favorite fairy tales, Rumpelstiltskin. It was to take place in a modern-day wrecking yard (where old cars go to die). The woman who owned the wrecking yard would discover an odd little man wandering around the yard. I don’t remember the details, but likely it was something like the woman would have to figure out his name to find love.

    I ended up completely jettisoning that version of the idea. I did go on to write the book, which was originally published by Berkley as Unforgettable, but is now available as The In-Between (again using my pen name Kayla Russo). The little old man was replaced by teen ghosts, Laura and Johnny. Rather than figuring out their names, the heroine (and hero) have to figure out how Laura and Johnny died to free the dead lovers from their bondage on earth.

    I’ve had another idea cooking for a long while that likely will never see the light of day. In that story, a fairy godmother appears in the apartment of a hard-driven, type-A woman. But before the fairy godmother can grant any wishes, she has a heart attack and drops to the floor. Just before she dies, she transfers the mantle of fairy-godmotherness to the type A woman. Now the woman has to be fairy godmother, which of course ruins her life.

    So, what are your favorite fairy tales and fables? What would you like to see retold?