Karen Sandler

Tag: TANKBORN

  • 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?

  • Oh, Microsoft Word, How I Love and Hate You

    This week, YA Highway’s Road Trip Wednesday prompt is, What word processing program do you use to write your manuscript, and can you share one handy trick you’ve learned in that program that has helped you while you write?

    As you’ve probably guessed from the emblem to the left, I use Microsoft Word (on a PC). And from the title of this post, you might have inferred that Word and I have a bit of an uneasy relationship.

    You might think that my issues with Word arise from my being one of those writers who’s computer-phobic, more comfortable writing longhand or on a typewriter. Ah…no. I was thrilled to give the typewriter the old heave-ho when we bought our first home computer in 1983 (a Kaypro II running WordStar). I’d been working as a software engineer for six years by then, and had an MS in computer science from UCLA. So I had (and still have) strong opinions about how intuitive a software user interface should be (very intuitive, IMHO). Yes, Word remains a very powerful tool for word processing (I’m a thousand times more productive using Word than I was at a typewriter). I do continue to use it, but I confess that at times I wish it were a live thing so I could give it a good, hard poke.

    Taking a calming breath now. As much as I use Word and appreciate its functionality, I do wonder how people with no computer background cope with some of Word’s, shall we say, less intuitive features. For instance, when I’m working on my first draft, I like to write my chapters as individual files, then stitch them together into one big file when I’m ready to edit. To accomplish that, I first do a SaveAs for my first chapter (or prologue), naming it something like Awakening draft. Then I scroll to the end of that chapter and insert a section break using Page Layout/Breaks/Next Page. I then go into the header so I can turn off Link to Previous. My running headers include the chapter number, and if I don’t turn off Link to Previous, the chapter number in the header for the new chapter will be the same as the previous one. Then I use the Insert/Object/Text from file to drop in the text of the next chapter. I run through this process for each chapter until I have the complete manuscript.

    Easy-Peasy, right? You followed all that, didn’t you? I guess you would if you already knew how to do it, but if you didn’t, you might be a bit at sea tracking my instructions. And this process has changed slightly with each new version of Word.

    I’ll tell you something I really do like about Word, though–tables. I use them for everything from organizing my agent submissions, to keeping track of my page/word count (both on a daily/weekly basis and overall count), to chapter outlines, to worldbuilding. Here is a nifty table I used to develop some of the backstory in Tankborn:

    Loka Population

    So, yes, I have a love-hate relationship with Microsoft Word. And yes, I often rant and rave about it to my poor beleaguered husband. But please, don’t make me work without it. 🙂