Writing God into Christian Fiction

"Christian Fiction"

Now those are two loaded words.  Before we go any farther, let's take those two words apart, shall we?


Christain:


1.  believer in Jesus Christ as savior: somebody whose religion is Christianity  


adj 
1.  christianity from teachings of Jesus Christ: based on or relating to a belief in Jesus Christ as the Son of God and the Messiah, and acceptance of his teachings, contained in the Gospels  
2.  relating to Christianity: relating to Christianity, or belonging to or maintained by a Christian organization, especially a church, Christian theology, or a Christian school.


Fiction: 


Any form of narrative which deals, in part or in whole, with events that are not factual, but rather, imaginary and invented by its author(s).


And if you combine the two definitions you get this:

Christian Fiction is categorized as any fictitious novel, story, or poem that expounds and illustrates a Christian world view in its plot, its characters, or both, or which deals with Christian themes in a positive way.


So now that we know what Christian Fiction is, the question I will then be addressing is how to incorporate such values into fiction in a way that displays aspects of God without feeling "preachy".

The first thing a Christian writer must realize when approaching such a subject, is that we humans, in our rather limited understanding of the spiritual realm, are essentially incapable of portraying all of the vast and glorious facets that make up God.  It is quite simply impossible for us.  In understanding this, we must also understand and admit to ourselves that in order to portray any part of our own knowledge of who God is to us personally in a realistic and believable fashion, we must give up any fantasies we have of portraying ALL of  what God is in any way.  This rule applies to  ANY setting, not just fictitious ones.

Why do I say this?  Because it is the truth.  We can't even begin to fathom or comprehend all that God is.  He is far to great and powerful, wise and merciful, gracious, kind, fatherly, stern, awesome and mighty for our puny human minds to handle.  He wants to be near us, but even in our quite time with God each morning, when we hear His still small voice whispering in our ears, He only reveals a small portion of all He really is to us or we would be so overwhelmed with His glory that we wouldn't be able to handle it!

So then.  After we understand this, then we must turn to the act of deciding what aspect of God we want to expound on, whether it be a moral, a proverb, a parable, a psalm, or even just an event from the Bible.  Of course, none of us will ever end up writing the same story or idea the same way.  For example I'd like to take a look at Donita K. Paul's "Dragon Keeper" series vs. my own novel "Song of the Daystar."  (Not a very good comparison, I'm sure, as Mrs. Paul has been writing far longer than I have, but still.)

For this example we are going to start by compare figures/characters that, on the whole, represent God in some form or fashion.

In Mrs. Paul's books, "The God Figure" (as it is often referred to) is called Paladin.  Mrs. Paul's MCs usually end up meeting Paladin in person at some point or another, so he is most definitely a living, breathing, physical part of the books.  He also affects the characters in a more direct way.  Having characters who experience physical contact with the God figure of a story usually stimulates a more "mortal" connection to said figure, including memories of actual physical encounters, direct emotional stimulus, and of course face to face encounters and conversations.  There is also the element of the five senses that can be brought into play.  Mrs. Paul's MC, Kale, meets Paladin on occasion and recalls her encounters with him several times throughout the books and several times she wishes that he could be with her during a crisis so that he could hold her hand and tell her what she needs to do.  She also remembers the love and compassion exuding from his being.  It's very touching, and portrays Jesus in a way that sort of makes me think of a hero... a noble knight who will ride out on horseback (or dragonback :D) to do battle with the enemy in order to protect his people, but who will also step back in some situations and encourage a person to make a decision and learn things on their own.  In essence, Mrs. Paul portrays God as approachable and loving, gracious, but protective of his people and fierce in the face of evil; all wonderful aspects of our all powerful, all amazing Heavenly Father!

In SOTD, the God figure is portrayed a bit differently.  For one thing, there really isn't so much a physical connection between God and my characters as there is a spiritual one that grows more over a period of time.  In my book, my God Figure is called Anahdor, and the story revolves more around believing in what is unseen and how the spiritual can effect the natural.  Of course, a person might not pick up on this connection if they were just reading the book -- unless, of course, I told them about the connection first. :D  My book is also about discovering how God works in a life, and it's about personal and spiritual revelation over the course of the story within and without of the church.  One main focus is the story of the cross (though told slightly different to fit the world in SOTD).  However, a major difference between my book and other books I've read that use the Easter story is the fact that, while the reader and my MC end up witnessing key points of the crucification and what that symbolizes, the event is witnessed in a slightly different manner than I think most readers are used to... (though I guess I could be wrong on that point).  In essence, I am trying to portray God as powerful in the everyday and portray the point that he cares for everyone of us, and has a calling for each of us, even when we think we aren't worth the trouble or the effort.  He loves us all and He can work through even the least of us to help bring other people into His kingdom.

(Well, that's what I hope comes across, anyway.  lol!)

Now, if we were to compare either of those ideas about God to the God figure in Wayne Thomas Batson's trilogy, "The Door Within", we would note that the High King in Mr. Batson's books also made a great sacrifice for his people, much like the story of the Jesus' crucification.  In Mr. Batson's books, we don't actually see the High King except once or twice when his presence is revealed and becomes almost overwhelmingly powerful (similar to different places in my book), but we do have characters that have interacted with the High King before he sacrificed himself for his people... so we also have that physical connection and memorable element of Mrs. Paul's books.

And then we have books that depict God as an animal:  Aslan in Narnia, Ruyah in Tebron, Albino in SOTS....

I guess the important thing to remember when trying to write God into Christian fiction is to first look at your outlook on God.  I know that sounds all sinister and impersonal, but it really is something to think about.  Analyze what you know of God and what He has shown you in your spiritual walk with Him.  Is there one point that shows up in your story more than others?  What is that point?  What does it represent to you, and then what does it represent to your characters?

As far as my writing goes, I've found that I can't leave God out of the book entirely... He seeps in, even when I'm not expecting it.  And anything I write that doesn't somehow, in some small way expound on one of his many amazing facets doesn't last very long... the story sort of falls apart in the middle and I loose interest.  It is very true.  

However, the spiritual elements of my successful stories are sometimes so subtle that I have to go in and analyze what these aspects are, how they relate to each other, and how they relate to my characters just so I can keep track of them.  Doing this also helps me get a better grasp on where my story is going and how certain events tie in with other events at a later date.  And never forget that it's always interesting to explore a different aspect of God than you have explored before... Take Nickolas from "The God Hater" for example... The whole point of "The God Hater" was (in my opinion) to explore what it must have been like for God to literally give up a part of himself to be killed in sacrifice for the people he created and loved.

So don't be afraid to ask yourself questions, and then ask God a few as well.  Pray about it.  Analyze what you know already and what you are learning in your daily walk of life.  If you do that and apply it to your writing, then you may discover that writing God into Christian fiction in a personal and graceful manner isn't nearly as hard as you might have thought.

The Rights of a Writer

This is a subject I do not approach lightly, for there are many people who have opposing views. But it is a subject close to my heart. Call this my little "Soap-Box Moment" if you will.



The other day while browsing through some old posts on different blogs I follow, I came across one with an interesting subject matter: it had to do with the "burning of" or "banning of" certain books and it showed a clip of the old TV show "The Waltons" which backed the author's point of view on the matter. Personally, I love watching that old TV show; my whole family does. We'll sit down to watch 5-8 episodes of "The Waltons" over almost anything on regular TV in the evening (though it's been a VERY long time since we've done that lately). It's set during World War II way out in the country, in a mountain home that houses… I think a family of 8 kids, the parents, and the grandparents, if I remember correctly. And to make matters even better, the Waltons' oldest son, John-boy, is an aspiring author striving to see his first work in print and working at going to college. I can so relate!



The clip was set during the time when Hitler was burning books in Germany – including the Bible – and replacing God's Holy Word with his own book. In the clip, the Waltons' church had found a copy of Hitler's book and planned to destroy it along with a bunch of other German books in a ceremonial burning. As you can probably imagine, John-boy went ballistic. Rising from his seat, he rushed to the pile of books on the ground and told the people staging the burning that it wasn't their right to destroy books just because they were German; the Germans had a right to read and write what they wanted to just as much as anyone in the states. He then picked up one of the books and, fondling it in his hands, stated simply that he wished someone could read German to them. An older woman hesitantly stood and joined John-boy in the center. She gently took the book from him and began to read it aloud. John-boy stopped her after a few sentences. "Could you please read it to us in English?" he asked. And with tears misting over her eyes, the woman lifted her head higher and began to read:



"In the beginning, God created the heavens and the earth. And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters. And God said, 'Let there be light.'"



John-boy had made his point: those who had planned to burn the German books were just as hypocritical as those who were burning books in Germany. Those who so strongly opposed the desecration of books had very nearly burned the Bible, the very book that they held so sacred.



After reading and watching this post, I ended up posting an extensive comment about how I agreed with John-boy, and when I had finished writing I thought about what an interesting subject it was to explore.

What are the rights of a writer – especially one that writes speculative fiction? And, for that matter, what are the rights of a reader?



What are they truly?



It is indeed a delicate subject to broach. Many people have different opinions on the matter and are not afraid to try and influence writers and readers towards their opinions. Indeed, many writers and readers have been influenced. It isn't always a bad thing, but sometimes it can be difficult to fight.



For example, I am a Christian Fantasy writer. As soon as people hear of this, there is immediate speculation. It's not uncommon for Christians to worry about reading Fantasy and Science Fiction. With the popularity of secular speculative fiction on the rise, and with the booming recognition of books like Harry Potter and Twilight, the church's hackles have risen and many people are on the watch for new pieces of fiction with underlying "evil intent", thoroughly convinced that only bad can come of reading such things. The Harry Potter books have all but been banned from many churches, and even from certain private schools because they are believed to be evil.



And why are they believed to be evil?



Because they have magic in them. And wizards. And even some witches. And because these characters are made out to be "Good" and even "Wise".



Now, I am no fan of witches, but for anyone who's ever read "The Lord of the Rings" or "The Dragon Keeper" series, the concept of good wizards isn't exactly new. Nor is the concept of magic. (think of Narnia, for instance.) My personal opinion is that the author had no real intention of writing evil into the books except for in the form of her villain. The rumors that give the books a bad name came from the outside. True, I haven't read any of these books yet and I don't know if I ever will, but I'm not about to judge them by their cover… or their author… or their author's intentions. People can read what they want to into anything they want, but I doubt that Mrs. Rowling regrets writing the Harry Potter books, or that she ever will.

How does this effect Christian Speculative Fiction Writers?



I would think that was obvious. Fantasy and science fiction have been given a bad name, and because of this many people refuse to give it a chance. While the amount of Christian Speculative readers (and writers) has grown drastically over the last few years, it still seems that there are more people against it than there are for it. Which is a real shame.



I have an older friend whom my family has known for years. I absolutely respect her and her advice, except for on one little matter; she believes that all "magic" is evil, she hates "The Chronicles of Narnia", despises Lewis for writing it, and believes I am desperately sinning by writing fantasy of any kind.



I absolutely disagree.



I believe that we were created in the image of the Creator of the Universe, and that he gave us an imagination so that we could use it and follow in his footsteps. My idea of magic isn't that of demons wreaking havoc in the world and those who try to harness the demons' power; rather, I believe that "Magic" is a term people stamp on to any fantastical happening that they have no explanation for, be it good or bad. Enchantment is rather a different story, but I won't get into that now. Do people in fantasy books use magic? Well… some readers say so. So what? "Magic" can be anything from a simple trick to something totally supernatural. People in today's world are too focused on the reason for things. If we don't understand something or it seems supernatural, we immediately have two options: God did it, or the devil did it. There's no in between. But where's the mystery in that? Who wants to know the source of every problem or the source of every answer that comes into their life? "Magic" is the source of wonderment in a fantasy book, and yes, some of it is supernatural… actually, most of it is. And in Christian spec-fic there are only two options for the source of magic: God or Satan… but we don't have to say that. We just say "Magic" and the context explains the rest. Are we really so different, then?



The point of the matter is that I can decide for myself how I am going to write something, why I write something that way, and what I do and do not believe. I am entitled to my own opinions; they are no one else's but mine. If I am influenced by someone else's opinions, well, that just means they touched me in some way. But I know what is right and what is wrong, and I can choose for myself which is which because God gave me that knowledge and I have his Word to guide me. I don't need somebody else to tell me that something else is right and that I'm a sinful person because I write a certain way… shoot, I know I'm a sinful person! We all are! But for goodness sake, take the beam out of your own eye first.



Another guy that I know believes that ALL fiction, no matter the kind or genre, is pure evil. When I asked him why, he said that it was because God wants us to search out truth and God made what is real. Therefore, what is real is truth, and if we read or write things that aren't or couldn't be real, then we are reading and writing lies and thus purposefully and willfully disobeying God.



I obviously don't believe this. But the matter of fact is, he is entitled to his own opinion and I won't try to sway him. Why should I? He didn't change my mind on the subject, and by trying to convince him otherwise I would knowingly be telling him that I sin on a regular basis (in his mind) and that I would like him to sin as well.



Another friend I know says that he believes Christian Romances are actually evil because they put certain ideas and desires into women's heads, awaking feelings (or something of the like) that should not be awakened. Ok, admittedly I almost laughed at this one; for one thing, I've read some Christian Romances and I don't ever recall have any type of "feeling" awakened in me that was wrong in any way, shape, or form. But I didn't try to tell him otherwise. That was his own outlook on the subject, not mine. If he believes that reading Christian Romances is sinful, then he doesn't have to read them, but my outlook is quite different. It is NOT a sin to me.



So my question is, what are the Rights of the Writer? What are we entitled to? Who must we listen to?

And this is what I came up with:



We are entitled to our own opinions and are under no obligations whatsoever to be influenced by other outside voices unless we wish to be.



That means, don't just throw good, solid, righteous advice out the window because you don't entirely agree with it: listen to what others have to say, but do so with discretion. God gave you your own brain for a reason as well as the freedom of choice. Use his gifts wisely – read his word, and pray, and don't forget to listen carefully for what he might whisper in your ear (it's always good to follow His advice. :D) But when allowing others to voice their opinions about a subject, listen with an open mind, yet remember who you are in God and be confident in what he has shown you; you can't go wrong that way.



Besides, we can't please everybody no matter how hard we try.  So if we just write for ourselves and for God, we'll know inside that we are doing something right.


*steps down off of soap-box*



So, what are your thoughts on the matter?

The Written World -- Elements of the Story, part 3

First of all, I apologize to all my readers for basically disappearing since November third. I'm still here, I promise! But what with school, life, and the fact that I'm miserably failing Nanowrimo, I have been quite busy. I also want to say that, like most of you have probably noticed, I'm not writing this series in any particular order. Instead, I'm just writing down points as they come to me. :D That's what you get for being an SOTP writer who still refuses to outline, even though she knows the benefits of outlining now and doesn't absolutely despise it anymore. :D



What we are discussing today is World Building. Every fantasy or science fiction writer knows that you can't have a story without these three elements: Characters, Plot, and a World to put both of those in. Themes usually slip in later (even though that was the first element I wrote about). The order of importance between these elements varies from writer to writer, but for me they usually line up like this: Character, Plot, World, Theme… or maybe Character, World, Plot, Theme. As you can see, the only two elements that are interchangeable for me are Plot and World. This is mostly because I am what is called a "Seat-of-the-pants" writer, and very rarely to I outline. Writing like that usually makes me care more for my Characters than my plot – at least until after the rough draft is written. Then I start to analyze plot and world – in either order – and only after that do I turn to theme.



When I do outline, however… and this is only every once in a while, just because that's how I am… the order usually changes to Plot, Character, World, Theme, or Plot, World, Character, Theme. Again, you might notice that it's the two middle elements that are interchangeable. I haven't discussed plot yet in this series, but I am working on putting something together for it.



Now, when I think of world building that is done well, my mind immediately skips to two of my favorite authors, both of whom write epic fantasy: Tolkien and Paolini. J. R. R. Tolkien is well known for the very complicated world, languages, and rules set forth in the Lord of the Rings. He was an absolute master of the writing craft and knew well how to handle his genre. But, as wonderful as Tolkien's work is, he is dead… a sad and true fact. And so today I'm going to turn to Tolkien's modern apprentice: Christopher Paolini.



When I get inspired to expand on my own world, I usually start by re-reading "Eldest" as a vague reference for world-building done well. Now granted, what plot there is in "Eldest" meanders pathetically, but the world Paolini created becomes vivid and sparkles. And even though the plot is dry, you can watch the characters grow into their world.



So the first thing I ask myself is, "What makes a believable world?"



A believable world has to feel tangible; it has to feel like you could touch it, walk into it, live in it, and become a part of it. If it doesn't feel like that, your reader is likely to feel unsatisfied with your book, especially if you're a science fiction or Fantasy writer, so it is very important to get your world created right.



Like with Characters, making a believable world usually involves using something familiar to base your made up world off of. Everyone knows what trees and grass looks like, that the sky is usually blue, and that the sun rises in the east, etcetera. Most of the time, when writing fantasy worlds, we leave those elements alone. That way the reader can overlook them and concentrate on the importance of, say, race, cultural aspects, and religion. Of course, it is possible to mess with these elements and change color and type, or to even make up something entirely new, but usually the sky is only a strange color in the middle of the day (like purple) if we're discussing science fiction and a different planet, or if we're describing a weird storm.



I mean, raise your hand if somewhere in your book you have green grass and a blue sky. *raises hand* Now raise your hand if your trees are purple and your grass is maroon. Anyone? *looks around*



This is why there are planets in most pieces of science fiction. Everyone knows that a planet is basically a humongous spherically shaped glob of rock or dirt. Life doesn't have to grow there, and in our reality it doesn't (as of yet). This is also well known. So, when writing a space story involving lots of gunfire and robots and spaceships and all that jazz, science fiction writer's usually throw in a planet or two to make the world somewhat familiar to the reader. Besides, planets give characters somewhere to go. Who would want to read a book where there was nothing but space? No place to land, no new world to explore, no excitement or adventure because there's seems to be no place for other creatures to live...



It's similar with dimensional jumps. Narnia is clearly not a planet in and of itself, but an entirely different dimension. Yet the snow is white there, just like it is here, and the animals look like the ones we have here too. Granted, most of them can talk, but we were able to accept this whimsical aspect simply because Lewis based his world off of ours – he made it a place of waterfalls and mountains, meadows and forests, seas and islands; we all know what those are. The fantastical elements were added only after the reader could recognize bits and pieces of the world in and of itself. And if there's a tree with gold and silver apples, we can accept that because we recognize the name of the fruit. The color is different, but at least we can put a picture with the name and get an idea of what the author meant.



Now that we've established this fact, what else must be put into our fantasy worlds to make them believable?



Well, the world would be boring without anyone to live in it, because then nothing would happen, so we must put characters in our world. And because we don't want them to all be generic, we will split the characters up into races (or "species") and give each a different cultural background. Most fantasy writers stick pretty close to the original fantasy species layout: that is, elves, dwarves, giants, fairies, etc… I tend to avoid writing anything about orcs since that was Tolkien's original idea, and I usually stay away from "Halflings" as well unless I specifically give that name to a certain type of mixed breed (like I did in "Eldrei"). Humans are also pretty common in a fantasy setting. You can always add other species if you want; just slip them in any old place – but make sure they have some sort of background to anchor them in that world. If you want to go all out, I would suggest taking a look at Donita K. Paul's "Dragon Keeper" books. In those books, all races except for the dragons were completely created from scratch: there are no humans, elves, dwarves, or any other generic species. It's awesome!



But what are characters without a cultural background?



This is where I start to have lots of fun. Some writers prefer the physical part of world building over cultural, but I tend to be the other way around. While I enjoy setting up scenery in my books, I'm one who loves to explore the legends and mythology of my races, figure out histories, set up languages, and discover the "truths" behind the "fiction" in my characters' worlds. I'm like this in the real world too: ancient cultures, legends, and mythology completely intrigue me. And if we're talking historical events that include sword play and armor, then count me in (though I'm not a huge fan on the more recent history involving complicated machines and gun fire).



The first step in setting up a culture for your characters is asking what happened to bring this race to where it is at the time the book starts. What does this race believe in? Do they believe in one God, or many? Do they have "churches" or "Temples" or "Cathedrals"? What holidays do they celebrate, why, and what are the holidays for? What is their original language, do they have different dialects, and in which area of the world is one dialect more prominent than another?



This is the type of world building I revel in, and it is this type of world building that Paolini used in "Eldest". In his second book, we start to get a good look at the world through the eyes of the dwarves, and then through the eyes of the elves. The elves are apparently the prominent race in the book, as Eregon spends most of his time in the forest of Elesmera learning to become a true Dragon Rider. Besides that, the elves were the race that first had war with the dragons, the first race to establish the dragon riders, and they are the race that every rider, no matter the type or history, begins to resemble after joining the Dragon Riders.



Both the dwarves and the elves have complicated backgrounds, histories, and beliefs. At the beginning of the book, when Eregon is offered a place in the dwarf king's clan and accepts the offer, we learn that the dwarfs believe if they are not buried in stone when they die, they will not go on to their version of "heaven" after death. Also, each dwarf has seven toes on each foot, and it was considered a myth that humans only had five toes until after Eregon proved that the dwarven "myth" was actually a fact. The dwarfs also have a strict religious background and a series of religious rituals they follow. The elves, on the other hand, don't believe in a deity of higher power at all, but do believe that a "higher calling" only has to do with oneself and that person's dedication and awareness to the world around them.



As a Christian, I question these beliefs in my characters, but knowing that our world is just as divided culturally as Paolini's world, I make myself take a closer look at the possibilities of different and conflicting cultural beliefs in my characters' world and time. My main character usually believes something similar to what I do, or else he/she learns to believe something like that towards the middle or end of the book. But what about my other characters, and the races they come from? I used to prefer not to mess around with multiple deities in cultural religion. However, I've found out since then that such a thing can be done well from a Christian perspective. For an example, let's turn to Jeffry Overstreet's books "The Auralia Strand". In book two of his series, titled "Cynder's Midnight", we learn that the character "Cynder" is from a city that doesn't believe in "The Keeper", a mythical dream creature who's allegorical perspective parallels with that of "God" or even Christ. (I don't know that I would go so far as to say the Keeper represents either one of those… there are enough differences that I would hesitate to put such a name on this creature. But there are also enough similarities to note the possibilities.) In Cynder's city, they worship their "Moon-spirits" as well as their own desires, and they are adamant with their religious rituals. Reading "Cynder's Midnight" was the first time I fully realized that a thing like this could be done well in a Christian book – that is to say that the religious beliefs didn't have to revolve around only "believing in God" and "Believing in the Devil", "being on the side of good" or "being on the side of evil". There are mixed beliefs in the real world, so why not in a fantasy setting as well?



I had, of course, read secular fantasy books where the author played with different religions and cultural backgrounds, but as much as I wanted my world to seem as real as all that, it wasn't until after reading this particular book that I understood the powerful impact such a thing could have in the Christian Speculative Fiction genre. Between Paolini, Tolkien, Overstreet, and Donita K. Paul, we have some pretty good examples of world building here, culturally, physically, and character-wise. The trick, however, is in applying these techniques to our own writings.



I'm going to end this post now, since it's starting to get pretty long (just reached over 2k). However, I'm seriously contemplating writing a second part to this particular element, so keep your eyes open for that. I hope what I did write didn't meander all over the place, and that this actually made sense in a way that can be used by any who read it. In the meantime, the very best advice I can give to authors who want to work on world building is to keep it "real" and always do your "research"… that is to say, look at other authors that you admire and who are successful in your genre, analyze what they did that worked, and see if you can't apply a few of the techniques they used in building your own worlds. Also, even if you base some things on other styles, cultures, and books, try to keep your world fresh and original. This is so important if you truly want to make a name for yourself in the literary world; otherwise, if others don't feel you are original enough, they may consider you a "rip-off", and that can damage your reputation in the writing world. However, to be completely honest, the only "rip-offs" I've ever met were completely new to fictional writing and have since grown into their own voices with ideas so original I am sometimes happily jealous of them (meaning that I love their work, and can only wish I had come up with the idea before they did. :D).



Until later, God bless and happy Writing,



Nichole

My Guest Post -- Paper VS. Digital

Eldrei Word Count: same as last time.  :D

This is just a quick post to let my readers know that I wrote an article on Paper VS. Digital that is now posted on Squeaks' blog, Hidden Doorways.  You can find my article here.  I hope you enjoy it!  :)

Nichole White

Accountability and the Writer – The True Challenge

Start the ominous music, right?  That title just screams "Run Away!"

I mean, as a writer I like to work on my own time, go with the flow, wait until I'm inspired. Because of that, this is a subject that I often try to get around – at least in my writing life.

But here's the thing; as a college student, I practice accountability every day. I need to be at school on time, sitting in that classroom and taking notes. I need to get my homework in when it's due, or make sure I have that report written. I need to be ready for that test.

When at work, I need to focus on my job because I am accountable to my boss and to the people I work with. (Granted, I don't exactly have a solid job currently, but even with my chores around the house, I am accountable to myself and to my family.)

And I need to be accountable to God: I need to pray daily and make sure I have my heart set right before him every morning.

If I can be accountable in all these other points of my life, then why can't I be accountable in my writing life as well?

A common remark I hear from artsy friends (and that I sometimes harbor myself) is this simple truth… "You can't rush art". And as many of us know, writing is an art-form. But a common misconception among writers is that, at the root, this saying means "wait until you are inspired and write then." I've done that before.
Sometimes it works; other times it doesn't.

But here's the thing; if you write only when you are inspired, it might be months before you sit down in front of your computer screen again and type a few words. However, if, like me, you are basing your entire future on writing and the ups and downs of the publishing world, then once every few months isn't going to cut it. You need to have your book written and be working on another one, and you can't afford to have a really crappy first draft.

This is where accountability really starts to apply. As a writer, you are accountable to your future publisher and your readers to do everything within your power to write your book the best that it can be and to do it in a timely fashion.

Let's look at Bryan Davis, for example: in an interview I once read with the author of four best-selling Christian Fantasy series, Davis stated that he usually completes a book in 4 months: 3 months for the writing, and 1 for editing. Now, we can't all be like Davis, I'm sure  (I, for one, have to work around a school schedule, musical practice, and work, along with family life), but his example is admirable. If he can do it in four months, why can't I do it in six, or even eight? I may not always be inspired to write but, like I do with every other part of my busy schedule, I can work a time in that's dedicated to nothing but writing.  And, at that time, I can sit my butt down in that chair and type out SOMETHING, even if I'm not all that happy with how the scene reads at the end of the session.  I can always go back and fix it later.

Some of you may say, "well, yeah, that works fine for a rough draft, but what about the second draft or the edit? I want my book to be perfect, and if that's going to happen I need to take my time on it."

Yeah, that's a tricky subject; I like to take my time on the edits as well. But if Davis can manage his edits in a month, then why on earth can't I keep my editing down to 2 or 3? After all, the basic story is already there; I just want to make sure it's written well.

So what can a writer do to become accountable to their writings?

1. 
   
   Go ahead; schedule in that writing time each day, and then be faithful to yourself and make yourself sit down at that time of day and write… no matter what. I don't care if the world is falling apart and aliens are invading at the same time that all life as we know it is about to be snuffed out. Write! You have no one to blame but yourself if your story never gets finished.
   
   
2. 
   
   Research. This isn't always the most fun part of being accountable to your writing, but it usually comes in handy at some time or other. Now, if you are a fantasy or Sci-fi writer (as I am) then perhaps the hard-core science and history research isn't your thing, but that doesn't exclude you from this step. This step is vital. If nothing else, research your craft: that means look up books about writing, blogs about writing, websites about writing. Read… always read. If you do nothing else in this area, READ! And, of course, practice. Put all that writing research to work: apply it as you write and see how it improves your writing, or makes it worse. Look up the Publishing business; get familiar with potential allies and potential competition. I've been researching writing technique and the publishing world for almost 7 years and I'm still not tired of it!
   
   
3. 
   
   Make yourself accountable to someone. When comparing your social life with your writing life, you probably notice that you are much more accountable in your social life. I know I've noticed that in my life. That is because when people feel obligated to do something, they usually do it. Without that drive, we all tend to be lazy. Talk to a friend or relative and have them make you accountable to your writing: have them ask you every so often how far you've gotten, or what your word count is. If you know that they will be watching to make sure you do it, you will most likely sit down and DO IT! 

I challenge all of my readers to be accountable to their writings. And, following my own advice, I pledge to be accountable to my writings through my readers. Right now I'm working on the edit of my novel "Eldrei". (SOTD is about as finished as it gets!) From now on, when I post I'm going to try to remember to post my current Word Count until I have "Eldrei" completed. That way my readers can see that I'm actually working on writing my novel, and not just letting it sit until I feel inspired to get at it. If you see that I haven't posted my word count, shoot me a comment and let me know: I'll get it up as soon as I can.

And to start off on the write foot – er, RIGHT foot – here is Eldrei's current word count: 23,082

Some Good Advice on Crafting a Good Query Letter

I don't have much to post today due to homework and lots of small projects that I'm working on.  But as I was checking the updates of blogs I follow, I came across this post:  On Query Letters, Part 1.  It has some really good advice for crafting a good query, and also for setting decent stadards for yourself -- you know, not getting completely discouraged when you get a form rejection and things like that.

Again, I appoligize that this post is so short.  But somedays the words flow, and other days they just don't. 

Enjoy the read.

Goodbye for now

Well, this is it... the last post I will most likely write in the next 2 1/2 weeks.  Let's see what interesting tidbits I can come up with to hold you off until the next post, shall we?

First of all, I started looking into the book "T'aragam", a POD book originally published by createspace although the author's book publishing name is sweatshoppe.  Cool name.  I haven't read the entire book yet, but by visiting the website at http://www.taragam.com/ and going to the page titled "Free Stuff", a person can download half of the e-book and the entire audio book read by the author for nothing at all.  I've now listened to the audio book.  It was pretty good... there were a few scenes that seemed... well, cliche really.  But on the whole, it was pretty good.  And to top it off, the author -- Jack W. Regan -- is one of the judges for the Highschool contest called "Tweener Times Competition" in which Highschoolers can enter a story they wrote aimed at a middle grade audience.  The competition is hosted by Moody Ministries.  (I even entered the RD for "Song of the Daystar" a few years back.  In fact, SOTD was originally written because of that competition.  Didn't win, but that's ok; the book went through major revisions since then.)

I've also been looking up some interesting blogs.  http://www.authorhaven.blogspot.com/ is one of them.  It has an interesting post about building a platform up right now.  The owner of "authorhaven" is also soon to be a published author, come 2011.  Check out her website to learn more.   At her other blog here, there's a good post about Publishing Christian Fantasy in Today's World and Market.  I was a bit inspired and discouraged at the same time after reading it... but discouraged in a very good and wholesome way.  I would definitely suggested reading it to all of my followers; it's very good.

On another note, if you haven't already checked out http://www.createspace.com/, now is as good a time as any to do so.  It's a POD publisher for authors who would like to self publish.  It doesn't cost anything, but it does take a bit out of an author's "royalty" as compensation for publishing costs.  This means that every time someone buys your book, you get some and they get some, and depending on what your set list price is, you may get more than they do or vise-versa.  But all in all it's an intriguing site, and after seeing the success of T'aragam, I've been considering it.

Well, that's all for now.  I've finished reading Cynder's Midnight but don't have a review written up so I'll have to work on that while I'm in Colorado.  I'm come back with pictures form the trip.

Until then, Live, Laugh, Love... WRITE!

I'll see you all later.

Nichole

Writing Backwards is Bad for your Novel.

A while back I wrote a post on perfectionist writers.  I am one of them.  And one of the things I struggle with the most in my writing is... just writing.

As writers, we all have some vague idea of where we want our poem or novel or memoir or biography to go, but getting it there is a completely different story.  We may have a great idea, get excited, sit down and write a few chapters... but then we pause and, instead of continuing on as we should, we make the one fatal mistake that has often kept many amazing story ideas from becoming amazing published books:

We go back, re-read, and edit.

I like to call this "Writing Backwards" because I'm going back and writing over again, when I should be working on moving the novel forward and finally reaching its end.  I catch myself doing it all the time.  In my mind, I know what I want that scene to look like; I know what I want that character to do and how he should do it; I know what that artifact looks like and I want the reader to see it that way.  If a writer could just go back and do a quick edit, and then continue writing from where they left off, that's great.  I wish I could be like that.  But so often I find myself stuck on trying to figure out just the right combination of words to make the scene perfect.  And usually, while it seems like the editing is helping to perfect my story and make it the best that it possibly can be, it is actually hindering real progress.

So this post is basically to help me realize that I have to stop being so darn picky.  Especially with November looming closer and closer. (Because, for those of you who don't know, November is National Novel Writing Month, or Nanowrimo.)  When November hits, I don't want to be a picky writer... I want to just write.  That's what Nanowrimo is for; for writers to type out the rough draft of a novel in 30 days and get it all out on paper before the idea is lost.  It goes against every perfectionist grain in my body, but perhaps that is good for me.  I can always go back and edit later.

When Inspiration Comes A-Knocking, the Best Thing to do is Open the Door

Last night was just an ordinary night when I sat down at my keyboard. The hard copy of “Song of the Daystar” sat beside me on the desk in its neat red folder, my purple editing pen and idea-ballpoint lying on top. I glanced at it, turned back to my blank screen, opened my documents and scrolled through my options. Did I want to start something new, or work on something old? I was growing tired of editing, re-editing, questioning myself, going back and editing yet again. I wanted to write. Several documents flickered up in front of my face, each with potential but each one denied. I wanted to work on something I’d started before, something that I could get excited about… but I just couldn’t decide what.


Then it happened.

The folder was several years old, covered with several layers of digital dust from not being opened in so long. The labeled documents inside promised glimpses at old ideas, excerpts that were cut, snatches of song lyrics and poetry for the book, a half-composed attempt at a language, and other such creations expelled from a young writer’s mind.

But halfway down the folder, it was there, staring me in the face, beckoning me with the promise of adventure. I hadn’t opened it in so long, I wasn’t quite sure what to expect; four years ago I’d only managed a few chapters worth of revision before I stopped to pour all my writing efforts into “Song of the Daystar”.

I clicked the document open, scrolled down to the last scene I’d revised and…

Started to type!

I couldn’t believe it; four years on the shelf, and then quite suddenly and unexpectedly the story that had begun my love of writing had drawn me back in again. I swear my keyboard smoked as my fingers flew over its keys. It was all coming back to me: the characters’ personalities, their problems, their world. I could see the map in my mind's eye, could hear the trees whispering to the shadows that haunted their woods, the mountains’ rumbling song, the vast ocean’s quiet lullaby as the rivers rolled down to meet it on the shore.

I was back.

I never imagined it to happen that way. After I finished the revision of “Song of the Daystar” I’d thought I might go back and give one or two of my stories a once-over, see if any of them were calling my name. None of them seemed to be. I thought about this project – the one I’d titled “Eldrie” so long ago – but at the time the long and tedious hours of revising held no appeal; Eldrie’s rough draft was long and complicated, and, true to a first draft’s nature, very, very rough.

But now…

I can’t help but get excited over it. It’s like I’m stepping back into myself all over again (not that SOTD wasn’t a part of me too.) And its good to have something I can get excited over while I try to pen-in my frustrations with the cruel publishing world. When I told my mother of my unexpected joy, she just smiled and said, “Then you must know it’s time to start working on it again.” She’s been telling me to finish the revision for years.

And all of this just goes to show that when inspiration comes knocking, you’d better not let it stand out in the cold; hurry up and open that door!

Why I Write What I Do

It's a really big question when you think about it:

"Why do you write the way you do, in the genre that you do?"

If I were to answer that question off-hand, I'd probably just say, "Because it's a part of who I am."  And it is; oh, it is!  It is so much a part of me that I don't even think about it any more.  But if I were to break it down?  If I were to really take that question apart, think about it, muse over it while savoring every word and wondering what it means to me deep down?  What would I answer then?

Most of you know that I love fantasy.  I do.  I love it.  And I know a lot of writers who also enjoy fantasy (and science fiction, and a load full of other genres).  Because I love this genre so much, my writings tend to be based in this genre, and if I were to ask such a question to a writer who's genre was horror or mystery, the answer would be worlds different.

As a fantasy writer asking myself this question, I don't have to look far to find my answer: it just takes a little time.

I write fantasy because it is the genre that I feel the most free in.  Not only free in writing it, but free in reading it as well.  Fantasy is the singular genre where there are no pre-assumptions attached. 

Right about now the Science Fiction Lovers are going to pop in and start hitting me with their keyboards and paperback books (paperbacks because hopefully they aren't aiming to kill me...  and if you are aiming to kill me, please get it over with quickly and as painlessly as possible.

Anyone grabbing at their bookshelves to chuck their latest find at my head?

No?

Good!  *phew!*)

But I'm totally serious here.

Romance books are expected to have romance in them.

Horror must be scary.

Mystery has to have a secret or an question that just must be answered.

Even in Science Fiction a reader usually assumes it has something to do with space, or at least technology, and there is almost always an explanation for anything supernatural.

But with fantasy there are no such pre-assumptions.  A fantasy book can easily tie together romance, horror, mystery, and technology all in one book and in no particular order... and you never know if the next book you read in the genre will be similar or different by a thousand worlds.

As a writer, I like that.  In fact, I like it a lot.  If I sit down to write fantasy, I don't have to know exactly where the story is set or how it will end.  I don't have to have a certain element in it that makes it the genre that it is (although most people believe that there must be some form of magic in the book to make it fantasy... which isn't necessarily true.)  I don't even have to have done any research, or be any smarter than the average Joe working two part time jobs to make a living... I just have to write.

And my story can take me anywhere!

Now, if you write or read some other genre, know now that I am not trying to convert you!  The most important thing is that you write the genre that fits you best... the genre that you feel "free" in.

That is why I write what I write.  (That, and a complicated childhood back story.  :D)

And in honor of my favorite genre and my love for writing it, here's an excerpt from the novel I started for Nanowrimo last year.  It's from chapter 12 titled "Voices in the Trees".  It's still pretty rough, but it's also one of my favorite scenes
***

Ganeff turned another corner, paused, and glanced around. His fingers moved nervously up and down the haft of his bow as he glanced from tree to tree.



What is going on here? he wondered to himself. This has never happened before.


He glanced behind him, then ahead again, and then from side to side.  It was no use: everything looked the same.


Lost?


The word floated skeptically through his mind. From his first lone romp into the woods to his final mission as an apprentice pickpocket, he’d never gotten lost in Rover’s Wood; never! But then again, he’d swear he’d never even seen this part of the wood before, let alone stepped foot in it.


Perhaps if I turn around, I can track my own footsteps and they will lead me out again. But upon turning, he discovered that his footprints were not there. Dead vegetation covered the dear trail he’d followed, and it looked like it hadn’t been disturbed in ages. The trail itself was gone as though the bushes had picked themselves up and moved to cover his only known way back.

Something shimmered in the corner of his eye and then was gone. He spun quickly, searching for the light. There it was again, but coming from a different direction. And again… only that time it was a different color.


Ganaff fingered the string of his bow, his free hand already slipping to the quiver at his side. What sort of devilry is this? He wondered.


There again! The light flashed and then was gone, green this time. Then again, a purplish hue. But now when he looked around he noticed that it was not just one light; thousands upon thousands of them flashed around the trees, up in the foliage and through the underbrush, blinking different colors into existence before vanishing once more. The forest was alive with them.


Only once before had Ganeff seen such a spectacle, when he and Aura had been sent to Thatcher’s Corner to investigate the rumors of ghost lights spreading throughout the forest’s inhabitants. Weapons had seemed useless against the lights then. He let his finger slowly brush by the lip of his quiver and back to his side.


A soft breeze flitted through the trees like a quiet ripple of laughter.


Come and catch me if you can!


Ganeff started at the voice, spinning around to see the speaker. There was no one there; just the lights and the laughing wind.


Come and play, Ganeff! You’re it! Try to catch me!


A few yards ahead of him, between the gaps of two tall maples, a swirl of golden light transformed itself into a hand. It beckoned towards him with long, elegant fingers before shattering into a thousand pieces and darting away among the shadows.


Ganeff ventured a step forward. A breeze rattled the branches of the trees as the laughter rippled through the air again.


Come and play with me!


“I’m coming,” Ganeff called to the empty air, and pushed his way through some thorny brambles to the place where the hand had been. Perhaps following the lights wasn’t the very best idea he had, but it was better than being totally and completely disoriented among trees that he’d never seen before.


“I’m going to catch you!”

The words seemed silly to him, but he could think of nothing else to say. Another wave of childish laughter ran through the trees. A few yards farther along, the lights converged again and another hand waved towards him before vanishing.


Ganeff chased after them, twisting and turning through the underbrush to follow the elusive lights as they darted every which way through the trees. Every few minutes another hand would appear; the trees’ laughter grew with each step forward until the whisper had become a voice, and the voice had become a song, and the song urged him forward with each step. The words of the song were strange to him, sung by a sweet childish voice. There seemed to be no particular melody to it, but the nonsense lyrics conjured pictures in his mind until he was almost sure he could understand the words.


Shuttle and loom go ‘clickle, clack'
Sting runs through and is pushed back
Patience is a virtue learned
Young fingers spin the wheel a turn
Round it goes, and round again
Each rotation one year’s end
‘Til Hair once dark is silver spun
Upon a wheel where stories run
String that ages, string that binds
String that frees the caged mind
In and out she weaves the years
Silent silver fall her tears
Ancient loom to be her cage
Ties the artist in her age
Bound eternity to spin
Weaving lives she can’t be in
Until one rises to take her place
Before the world should fall to waste


A life of stories, none the same
A work she loves, but cannot claim
A thousand years, or maybe more
Before a girl will come to her
A girl as ignorant as a child
Though fire hides within her, wild
Sit her down; the loom will tame her
Fate has come: the Tale has claimed her
Old one, teach her how to weave
New tapestries before you leave
An oracle whose gift once hidden
Comes to light before it’s bidden
Weave anew the fraying threads
Before dark might brings all to end


Suddenly the music stopped and, as if coming out of a trance, Ganeff looked about him. He was standing at the edge of a clearing. The colorful lights darted back and forth over the grasses, disappearing momentarily, reappearing the next minute.


Have you come then?  The voice was soft as if the very wind had breathed the words. Have you come to play?


“I have.”


The trees rustled with the laughing breeze as the lights dashed into the middle of the clearing, their many colors flushing gold. A woman’s voice trilled a rapid scale of notes, both terrifying and lilting at the same time. Ganeff let his fingers drift towards the hilt of his throwing knife, gulping back the terror he could feel welling up in his chest. He went to take a step back, but found that his feet were frozen in place; he couldn’t move!


The lights converged in the very center, drifting in a long, lazy spiral around the space where the strange voice seemed to come from. The voice grew louder, joined by another: a man’s this time. Their song filled the clearing with a strangely beautiful yet dissonant harmony the likes of which Ganeff had never heard uttered from the throat of any bard before. As the notes of the song escalated, the golden spiral spun faster and faster, swirling in patterns of wild abandoned, growing tighter the faster they spun until there was no space left between one line of gold and the next. Their brilliance became unbearable to look at. Ganeff squinted his eyes to try and shut out some of the light, but found he couldn’t close them completely. He had no control over them; they simply would not obey him!


Suddenly the light burst into a thousand starry pieces and Ganeff felt like the blunt end of a stick had been thrust into his stomach. He doubled over, lifting his head to squint through the haze of drifting light. A tall man and woman stepped out of the air and glanced around. The woman’s mouth was opened in song. Her voice seemed to give life to sapphire swirls of light which floated from her lips and away into the trees. The man held her hand gently, as if it were made of glass and could break in an instant; his lips were closed, but a haunting harmony still drifted from his throat; Ganeff could see it. The lines of harmony were a rich and vibrant purple. Shimmering gold lights flickered in the purple haze like the notes on a music staff.


But as strange as the colorful haze of music seemed drifting from their lips like living beasts, what seemed an even stranger sight were the set of massive wings flowering out from the two being’s backs, towering above their heads like giant and beautiful guardians: the man’s wings were the color of ink and smoke with veins of red as bright as newly spilt blood tracing their way from tip to tip; the woman’s wings were a deep sapphire, gilded with patches of gold and with veins of silver filigree swirling through the blue in intricate patterns. She glanced over her shoulder, fluttered them twice, and smiled. As the music faded away, she turned her smile on her escort.


“You were right, Creon; it does feel good to have my feet planted in the rich soil of this earth again. I had nearly forgotten how the full the air seems of song and life.”


The man called Creon nodded, glancing around the clearing. “Yes, the Tale has favor on the beings of this land. But try to remember, my dear, that we are here for a purpose that must be fulfilled ere we return to your kingdom, and we must not overstay our welcome.” His eyes finally sought out Ganeff standing in the shadows on the edge of the trees. “Ah. There he is. Just as you foretold.” He broke his grip on the woman’s hand and walked towards the boy. As he walked, his feet barely seemed to touch the ground.


“There is who, my love?” asked the woman. It took her a few minutes longer before her eyes finally settled on Ganeff. She looked him up and down, as if uncertain about something. Her pale blue eyes became worried. “Are you sure, dear? He looks so slight, as if he is only half shadow himself: unsubstantial like a Breeze Daughter. I do not doubt a single blow from your lips would knock him to the ground twice his own length from where he stands.”


Creon glanced over his shoulder, something between a smile and a sneer working the corners of his mouth. “He is slight indeed,” he said, “but do not be fooled by him; the Tale has granted the inhabitants of this world the gift of endurance, and of the Tale’s other gifts, frailty is not among them.”


Ganeff opened his mouth to speak, but before he could utter a single word, Creon waved his speech away. “Be still, Earth Child. We are granted but little time to speak with you, and there is much to be said. But first, answer me this: are you the guardian of Aura, Light Spinner?”


“Who?”


“You see?” said the woman, gliding towards them. “He is dazed; our words do not make sense to him.”


Ganeff drew himself taller. “I understand you,” he said, “but I don’t know who you’re talking about. The Aura I know is a spinner of nothing unless it is a story of questionable origin. I don’t know what a light spinner is.”


The woman chuckled lightly, pale white hands flying to her lips to modestly hide her mirth. “Perhaps you are right my dear,” she said to Creon. “He is not as fragile as he looks: it would seem his substance lies in a sharp tongue rather than in his body.”


Creon frowned. “My dear, you are insulting him.” Then to Ganeff, “Come and join us.”


Ganeff didn’t have much choice. The tall man grabbed him by the hand and pulled him out into the open before he could say a word. With a wave of his hand, thousands of colorful flickers danced around Creon’s palm. He studied them for a few minutes before shoeing them away. Unabashed by the dismissive gesture, the lights converged several feet away into two separate spirals: when they broke apart again, two thrones sat in the middle of the clearing, one silver set with onyx and ruby, the other gold set with sapphire and diamond. The lady made her way over to her throne and sat in it, bouncing slightly in her seat as though she were a child.


Creon stopped Ganeff in front of the thrones. “Stay here,” he ordered before walking over to the silver throne. The lady straightened herself as he approached. At a nod from him, she flicked her wrist and white staff appeared in her hands. Ganeff tried to hide his surprise, though he was sure they could see it reflected in his eyes. The lady waved the staff over a pile of leaves that stood beside her thrown.


Ganeff blinked, then blinked again. Was his mind playing tricks on him? He closed his eyes and shook his head, but when he opened them again, he could not deny the fact. Where, a moment before, nothing had stood, now a golden loom was slowly fading into view. Before it was even complete, the lady picked up the shuttle and began gently sliding it between the warp and weft threads.


Clickle, clack. Clickle, clickle, clack.


Her fingers moved so swiftly through the strings, that they shimmered as they moved. A tapestry was slowly being built, but Ganeff couldn’t quite make out the picture just yet.


Creon nodded to the lady but then turned to Ganeff.


“Young man, do you know why you stand before us today in the presence of both Fae and Faeling?”


Ganeff shook his head, his curly hair tumbling down into his eyes. His knife and bow, long forgotten, hung limp in his fingers. “I became lost,” he answered simply.


“Lost, yes!” sang out the lady. “Lost among tree shadows. Lost while searching for something… while searching for a friend. This is true, is it not?” Her fingers flew over the loom.


Clickle, clack. Clickle, clack.


“I was looking for Aura.”


“Aura.” Creon’s eyes were trained on him. “The girl who is the key to everything. The girl who could change the world forever… or break it on a whim.”


“I’m not sure we’re talking about the same…”


“But we are,” Creon interrupted. “Your friend, the Light Spinner."  At Ganeff's questioning gaze, Creon sighed impatiently.  "You say she has a gift for telling stories. Do you know why she is so gifted?”


This time Ganeff didn’t move, waiting for the answer to come to him instead. He’d made a fool enough of himself to answer right away.


As the lady spun, she began to sing:


Little girl whose gifts are hidden
Child of light, whose flame is cloaked
Stories spill from you unbidden
Mischief by your heart is stoked
You who wander field and water
Hide your talent by a mask
For all know the Rover’s daughter
Mustn’t find her father’s past

“What is that supposed to mean?” Ganeff asked. “The only gift that Aura has is an overactive imagination that keeps getting her into trouble. That’s why I’m out looking for her… and what does Rogue Quince have to hide?”


But the lady just laughed and continued to weave.


Seek the Spinner, seek and find her
Guardian of half-wove dreams
She is with those who would mind her
Teaching her the way of things
Heed my song, ye brave young warrior
Lest thy heart is clove in twain
For Aura’s life is bound by thread now
Never to be freed again.


Life is light, and she the Spinner
Stories roll from off each finger


Wove in chord, in string, in thread
That cannot be undone again


The pen is mightier than the sword
The Tale has penned its lasting word.


Ganeff scowled. “Why do you speak only in riddles?” he demanded. “Are you trying to confuse me with your worthless songs? You have told me nothing.”


“Be still.” Creon commanded. “The Lady’s song is prophetic; you would be wise to heed her words, even if you lack the understanding of them.” He waved a hand and flickers of light immediately darted to it. He held it out for Ganeff to see. “Do you recognize her?”


Ganeff leaned closer to see it better. In the middle of the ball of light, there was a face. He recognized it at once.


“That’s Aura!” he shouted but Creon shook his head.


“It is not,” the Fae Lord said. “Look again.”


Ganeff peered at the picture again. It was Aura; he could recognize her face anywhere, but…


Something was slightly wrong with this picture, though the differences were so subtle that he hardly noticed at first. In this picture, the face looked older, more mature than Aura’s did. On yet a third glance he realized that it wasn’t Aura at all. The person in the picture had lips the perfect color and shape of a rose bud, and her thick hair was almost black rather than just dark brown, falling over her shoulder in curly torrents: Aura’s hair was straight.


And her eyes… the lady’s eyes were the most captivating part of the picture. Aura’s eyes were strange and beautiful, but they almost seemed dull in comparison with these. The eyes in the picture weren’t dark brown like so many other rovers’ eyes; they weren’t the color of emeralds, like the gypsy rovers from the north, nor were they the flashing brilliant blue color that made Aura’s eyes so mysterious. These eyes were Violet, a purple so pure that it was its own primary color. And deep within the purple irises, flecks of gold gilded the rims like fireflies caught in a net.


Ganeff had only seen a picture like this once before, and then, too, he had at first mistaken the girl for Aura. But he’d soon learned the truth.


“Th-that’s Aura’s Mother,” he stammered.

Those Feisty Little Things We Call Prologues

The publishing world is full of interesting questions, and authors tend to ask them the most: should I query that agent or shouldn’t I? What will that publisher think of my book? Does it really matter if my socks match in my Author’s Photo? Where on earth did I put that pencil?

The answers to some of these questions we may never know.

But there is one question that authors around the world have asked, and keep asking, and then ask it again just one more time:

“What should we do about Prologues?”

Prologues are a touché subject when it comes to the publishing world. Many think that prologues are just a way for the author to “put off” the actual beginning of their story.

“If they were any real good at writing,” these people argue, “they would just start their story at the first chapter and leave out the extra frills of a prologue.”

And maybe these people are right… to some extent. Some prologues do seem to only put off the actual beginning of the story, and can become really annoying (though I tend to attribute such annoying-ness to bad writing or a plot that wasn’t thoroughly thought through.)

Yet even with so much against prologues, many writers continue to write them. Why is that, do you think?

As a writer (though as yet an unpublished one) I have taken note of some of the advantages linked with prologues, and perhaps it’s because of these advantages that so many writers use them.

For one thing, while it’s true that a lot of people argue that Prologues just “set up” the real story, if the story is set in a fantasy world, what is wrong with “setting it up”?  It is most likely that people have never visited this fantasy world before (if this is your first book, or if it is set in a different world from other books you've written) and the problems associated with its inhabitants would be completely new to any potential readers.

What if your story is actually the memory of an elderly person looking back on his/her younger years? The question would then become, is it important that the reader knows that this character is elderly? If the answer to that question is ‘yes’, then it might be a good idea to use a prologue and an epilogue in order to make the story a “frame tale”: that is, a story told within a story. One of my books is set up something similar to this.

A prologue can even be something as small as a poem or a Prophesy just before the first chapter; perhaps it is only a short journal entry by one of the characters. Depending on the contents of the poem or journal entry, this type of prologue could be a very valuable part of your novel; a cryptic riddle for readers to unravel as they get deeper and deeper into the tale.

Above all other reasons, though, there is one reason that stands out to writers everywhere: Prologues allow the reader a glimpse of the story behind the story.

Allow me to give a few examples.  This first one I call the "Accidental Main Character" example, and I'm going to use the book "Eregon" to show you what I mean.

I was immediately intrigued with Paolini's prologue. In “A Shade of Fear”, Paolini used his prologue to have Arya send Sapphira’s egg to Eregon (by accident -- she was trying to send it to Brom), thus making a character who would normally be as uninteresting as the dirt that he farmed, become an extraordinary Main Character. If Paolini hadn’t used a prologue, the fact that Eregon found a strange blue stone in the woods wouldn’t seem nearly as significant to the reader.

The second example  that I’m going to use I like to call the “Reason for a Main Character” example, and I’m going to use “Song of the Daystar” to show you what I mean. (Yes, I know it’s my own book: bear with me here.)

In Song of the Daystar, the prologue is set in a forest with seven old men gathered to pray: a stranger comes and gives them a stone before dying, and we learn that these seven old men are in danger from the king. They call on the aid of Curron (my main character), to help them.

Because the Elders are intentionally calling on Curron for help, the fact that Curron becomes my main character is no accident, but it does provide a reason for my character to leave the relative safety of his home and set out on a dangerous journey. Why does he need a reason, you ask? Because his personality would never allow him to leave his job as a stable boy without some outside motive. If his personality was the “go-get-‘em, fight-‘em-all-one-handed” type of personality, he wouldn’t need an outside reason, thus I would not need a prologue.  And, because my prologue is not told from the point of view of my main character, I felt it would feel strange and rather disjointed from the story if I made what is now the prologue into the first chapter.

However, a writer should know that there are other problems tacked onto prologues, the biggest being the fact that many agents/publishers plain and simply don't like to take the time to read them.  This is a real shame in my mind, because I know how valuable prologues can be.  Knowing both of these facts, I have taken the time to go over my prologues and make them interesting and important enough for agents/publishers to see their potential.

Here are the three steps I use when deciding whether I should or shouldn't write a prologue:

1) before you write a prologue, check to see if the information is important enough to the story not to be left out of it entirely.

2) If it is important, then check to see if it can’t be woven into the story in some other place where it might fit better and, perhaps, feel less awkward.

3) If it’s important and yet doesn’t fit anywhere else in the story without feeling awkward, that is when you write a prologue.

And if you do it right, the prologue could be a valuable addition to your story, rather than a hindrance. :)

The Curse of a Perfectionist

The other day I was reading “Song of the Daystar” to my dad (who is not really a reader to begin with) and asked him what he thought of the story. His words to me:


“Well, it seemed a bit flowery; I couldn’t get into the story.”

"Flowery?!" I thought, "After all I've done to make it perfect, now it's too flowery?  I thought it was done!"  :(

Now, granted, my dad is not a reader: “NOT” in all capital letters unless, maybe, it happens to be the Bible. And he’s certainly not a fantasy reader: Heaven forbid he pick up even the “Chronicles of Narnia”, let alone ”LOTR” or “Through the Looking Glass”.

BUT…

It raised the question in me about whether or not I really was making my prose sound too flowery. Was I getting right to the point? Or was I taking too much time trying to describe everything, just sort of dancing around on point-shoes like a magical pixie to make everything seem wonderful?

Well, knowing my dad, if it doesn’t say something out right then it’s just a nuisance. I love him, but that’s just how he is. He likes the idea of second, hidden meanings, but he would much rather get right down to solving those second, hidden meanings than get all the clues first. He’s an artist, but in my opinion he’s more “straight forward” than I am.

Does this mean my writing is not good enough? Could this mean I have to go back and rewrite?

Well, no. No, it doesn’t. I do have to go through it and edit, check for grammatical errors and spelling typos, but I don’t have to rewrite.

Some of you may be asking, “Then why on earth are you posting on this subject?” But my reasoning is simple. Many writers take any advice given by any random person and immediately apply it to their work. These are the ones who want to please everybody.

I am one of these.

I’m probably at the top of the list.

You see, writers are automatic perfectionist. In real life it may not seem like it: we may leave clothes on the floor, not comb our hair a certain way, leave stacks of books lying around, or not care all that much whether everything is organized on our desk or not. But set us down at a keyboard and we immediately start criticizing ourselves. We don’t want to let our stories go until they are everything they have the potential to be. They must be perfect.

“Perfect!” we scream. And we type, and the keyboard starts to smoke, and eventually the smoke detectors go off, and then at last we have to get up to turn off the screaming buzzing noise that is wracking our concentration. But then we are back at the keyboard, changing things, rewriting, debating with ourselves, trying to make everything “perfect”.

The sad truth is, no matter how hard we work on it, it will never be perfect. It will never be finished. And perhaps, the most gulling fact of all, we will never be able to please everybody.

Never.

Once, while reading an interview with one of my favorite authors, I read this quote: “My book will never be finished until my publisher pries it from my fingers, and even then I’ll keep working on it”.

Unfortunately, it’s a truth. I will probably do the same thing. Writers seem to have this need to please everybody, to make everybody happy, and prove to themselves that they are not the computer loving weirdoes that many people think they are.

But we are. Oh we are! And the only way we’ll be able to ever be satisfied with our writings is to come to grips with the facts that we can’t make what we write please everyone.

I seriously thought about what my dad told me. He was only trying to help me, I know. He didn’t mean for his words to sting (even though they did.) I thought about what he said. I considered it. I went back and read over the manuscript.

But you know what I found out?

I liked the manuscript the way it was. I ran it through several critique groups and they enjoyed it as well. I let random people read the prologue and first chapter (which was all I read to my dad). The random people seemed pleased. A few of them made suggestions which I took into consideration. But I don’t need to change the entire book just to please my dad, who doesn’t like reading that sort of stuff in the first place, let alone the fact that his daughter writes it.

Yes, I am a perfectionist. I want my book to be perfect. But I can come to grips with the fact that it won’t be. As long as I’m happy with it and know that I have taken it as far as I can, someday I know that it will sit on a book shelf and people will pick it up and read it: the people who do like what I write. It doesn’t have to be perfect for everyone.

Well, at least I’m still trying to convince myself of that.