...but that isn't believable.

YA. Young-adult. Teen reads. However you want to say it, it's a genre that's been up in the air for the past decade or so. By publishers' standards, it's generally accepted that the main character falls between the ages of 12-17. Since the dawn of novels like Twilight, readers' ages have branched out in both directions. In fact, according to Publisher's Weekly, over half of readers who choose YA are in fact over eighteen with the majority being in the 30-44 year old range.

With readers being older than the characters they're reading about, YA novels have a taken a hit for being "unrealistic," "immature," or "over-the-top." While I agree those issues can pose a problem, I think many forget the true age of these characters. Don't you remember being seventeen? Just getting out of bed was cause for melodrama. That's the life of a teenager. I was a pretty reserved and level-headed teen, but I also remember that feeling of can't-live-without-you first love ... the love I thought would last forever. I remember the pain of not fitting in and constantly worrying about saying the wrong thing. Of feeling like a total pariah because I was different than everyone around me. Of getting stressed because my skin wasn't cooperating or freaking out because my favorite shirt was dirty, and I as supposed to meet my friends at the mall in an hour. 

Everything in my life was a code: blue, the-world-is-on-fire, how-can-I-continue-like-this level of importance. 

And that's how it should read in YA. People want to hate on insta-love. They get down on conflicting emotions and love triangles. They hate that characters seem "weak" or "indecisive." But at seventeen, it's impossible to decide what outfit you're going to wear that day let alone what your future holds, relationships or otherwise. 

We've lost sight of what drew us to YA to begin with: the innocence and the passion in each aspect of life. It's the time when you feel the strongest, the purest. You aren't jaded by the soul-sucking aspects of adulthood. You're free to feel things at their fullest, without reservation. You throw caution to the wind, and you live. That's the beauty of being a teen. It's not an excuse to act out or be reckless. There are boundaries even in youth. My point is, as a teen, you're a walking ball of crazy, and that's how it's supposed to be.

So, the next time you pick up a YA novel, appreciate the struggle of your high school aged character. See life through their rapidly-changing lenses. Relish in the victory being asked to the dance by their crush. Weep at the loss of their first love. Feel with every part of your being because you know they do.

I Could ... but I Won't.

Writerly Tip 149: Using the words "I could" almost always = lazy writing. It happens all the time...so much in fact that it seems to be a growing trend.

What do I mean? Keep reading.


Examples: 
1) I could hear the horses' hoofs.
2) I could see the pain on his face.
3) I could hear his smile through the phone.

One of those works; the other two are just poorly stated. Now, which one is okay, and how could we fix the others? What's wrong with "I could" anyway? In short, it's completely telling vs. showing.

...in case you were wondering, number 3 is acceptable.

Imagine you're actually in a field (or the city streets, or Oz, or wherever), and you hear horses. How are you experiencing it? 

Try this: Horses' hoofs clopped over the cobblestones ... or yellow brick road.

Whichever you prefer. ;)

Doesn't that sound better? It paints a clearer picture in the same amount of words.

Now we're on to our guy who's obviously hurting. Maybe he just got caught lying to his girlfriend, and he feels terrible. Perhaps his dog died. Maybe some dude kicked him in the junk. We at least know he's feeling some kind of pain.

Now then, number 2: He gritted his teeth as tears pooled in the corner of his eyes.

Obviously you need to cater to the situation. 

If he'd been kicked in the nads, he would've doubled over, and you wouldn't see his face. 

You get the picture.

Why then does number 3 work? Because it's logical. That's the best way to say it. Have you ever heard a smile in someone's voice while talking on the phone? It makes sense that "I could." Would it throw you off to read, "He smiled through the phone?" I guess you could take away what it meant, but in reality, the mental image that creates is kind of terrifying.

Writing "I could" isn't an evil act, but consider the situation and use them sparingly. Always ask yourself, "Can I show this moment instead of explaining it?"

Keep Writing!

Vilifying the Villain: Characterizing Your Scoundrel.

 
Maybe it's just me, but there's something about a well-written villain that makes him/her as fantastic (and sometimes even more amazing) as our hero. Maybe it's the fact that we can identify with their flaws and struggles. Maybe we as chicks (speaking for my gender) have some need to nurture their wounded souls. Who knows? But you can't deny that we love bad guys! After all, a hero is only a hero when he has an adversary. Right?

So what makes for a good villain? A dark costume? Wicked laughter? A plan for world domination? Yeah, sometimes. Especially if you're The Joker or Magneto. But the villains I crave are the ones with scarring histories and twisted motivations. Why did they choose that path? What caused that switch in their brains to turn to the dark side? Who in their past damaged them to the point of losing that small part of their humanity? What makes them tick? All of these questions have to be addressed if you want to write an incredible villain.

Presently speaking, my very favorite bad guy is Klaus Mikaelson from The Vampire Diaries. If you aren't familiar with the show, here's a brief rundown. Klaus makes his insidious debut appearance in season two (2011), slaying part of the loveable cast, cursing those he didn't kill, and cementing his place on the TVD blacklist for all eternity ... or so we thought.

Enter present day Mystic Falls, Virginia. We see Klaus - now much more human-like, vulnerabilities and all - and not only do we feel for the life-sucking vampire, we're actually rooting for him! Sometimes I almost feel guilty for wanting him to have a successful life, like I've been lured over to the dark side myself. So what happened? How did we go from wanting him to suffer all the pain he'd put our heroes through to hoping they'd cull a few of our leading guys and make a permanent spot for him?


He became relatable. We learned the history of his family. Klaus' father (of sorts) chased him for centuries, trying to kill him and his siblings. His dad made a spectacle of him, taunted and pushed him. You can't help but sympathize with the guy. Then we meet Klaus' mother. Granted she loved him, it didn't stop her from pursuing the same path as her husband. Klaus is hated by everyone around him. He's never known loyalty or genuine love. His whole motivation when he entered the scene to begin with was the desire to have someone there who would never leave him, never betray him. Now we see him with the girl he's fallen in love with. The darkness inside him isn't gone by any means, but we can see that small glimmer of a chance that he might one day make a selfless choice by someone.

So what makes that villain someone we love to hate? Even though he's on the extreme side of the pendulum, he's not so very different than we are. He still walks the edge of the knife, chancing a fall to one side or another, but we have hope.

When you feel pain for the enemy, that's when you're witnessing a well-written villain.

Happy (villain) Writing.

Pass the Voice: A Look at Identifying and Eliminating the Passive Voice.

We hear it all the time: avoid using the passive voice. If you're anything like me, you need to know what passive voice is to begin with. Only after identifying something can you learn to fix it.

Oftentimes, we associate the "to be" verb with passive voice. That isn't the case in every instance, though a to be verb is frequently to blame in a problematic sentence. We'll come back to this thought in just a minute.

Now then, passive voice = when the subject of the sentence gets an action VS. doing the acting. 

Megan's hair was blown by the wind.

This is a passive voice sentence. Megan (our subject) isn't actually doing anything here despite being the intended focus of the sentence.

To make this an active voice statement, all you'd need to do is reverse the order, giving the action (blown) to the proper subject, (in this case, the wind).

The wind blew Megan's hair.

Notice when switching the subject to the wind, Megan becomes the secondary idea of the sentence. The focus has now shifted to the wind, giving it priority. If you need to keep Megan at front and center, she needs an action to accomplish. 

The wind blew Megan's hair. She pulled it into a ponytail.

There are occasions where we run into a questionable sentence.

Megan was brushing her hair. 

Megan is the subject here, and she's the one taking action. Megan (subject) was brushing (action). What trips writers up is seeing the -ing word as well as the "to be" verb was. While this is technically not a passive voice sentence, it's definitely indicative of a weak sentence. The suggestion would be this:

Megan brushed her hair.

Bam! We've automatically strengthened the sentence by choosing the stronger verb. More often than not, this is the right choice. BUT as it goes with the English language, it isn't a hard and fast rule and depends entirely on the intent of the sentence. Consider this:

Megan was brushing her hair when a gust of wind blew it across her face.

Even though the red flags are there for a passive sentence, the only problem here is the fact that it's telling VS showing. If you changed it to Megan brushed her hair when a gust of wind blew it across her face you've changed the meaning of the sentence altogether. The wind blowing is an action that takes place in the middle of her brushing. She doesn't brush her hair only when the wind blows it across her face.

Now that we've learned to identify passive voice, the question is: how do I fix it?

The first thing you can do is check for those irksome "to be" verbs. Do a Search/Find for the following words in your document:

* is

* am

* was

* were

* have

* had

* being

* been

* be

If you search them one at a time, you can go carefully sentence by sentence and analyze it. If it isn't using the passive voice, consider replacing the "to be" verb with a stronger one or rewording the sentence. Sometimes it works, and sometimes it doesn't. Just remember, the goal is to eliminate a passive voice when it doesn't negatively affect the look/voice/intent of the sentence. Keep in mind, there will be a few occasions where the passive voice is not only necessary, it's stronger for the situation. Listen to your gut. You know what you're trying to say.

Happy Writing.

The Department of Redundancy Department.

Being a writer is a game of constant growth. Authors are always learning, growing, and expanding their knowledge in developing their craft. One of the more common issues I see (and more than deal with myself) is overwriting. Overwriting encompasses a number of problems, but today I'm thinking more along the lines of redundancy.

To understand how to fix a problem, you first have to learn to identify it. 

re·dun·dan·cy [ri-duhn-duhn-see] noun, plural re·dun·dan·cies.

1. the state of being redundant.

2. superfluous repetition or overlapping, especially of words.

3. a redundant thing, part, or amount; superfluity.

 

In other words, redundancy is saying the same thing in different way or adding words that aren't needed. Not only does this lengthen your work unnecessarily, it makes for a tedious and frustrating read. 

 

What are some examples of overwriting through redundancies? 

 

First, there are what I like to call, my 'doh' moments:

 

* I shrugged my shoulders. Well, yeah. Unless you have some double-jointed hips or something, what else are you going to shrug? You don't lose anything by cutting my shoulders, and your story will only read stronger for snipping the excess.

 

* My heart pounded inside my chest. If you aren't on an operating table with your ribs cracked open (or maybe in a freaky horror novel), your heart can't beat anywhere else. Remove the superfluous words. 

Trust me when I say, we ALL do this at some point in our writing journey. It's a learning process.

Next, there's stating the obvious through reiterating a thought or emotion.There are several redundancies in the following sentence. Can you identify them?

"I hate those flying monkeys!" Mark yelled in anger. 

1) The use of an exclamation mark. Given the context of a scene, an exclamation mark should be enough in itself to show excitement, anger, or fear. This would be a great time for an action should you need to identify which character is speaking.

Say it better: "I hate those flying monkeys!" Mark slammed his fist against the shed.

2) The use of the word yelled. Yelling (in general) is an obvious sign of anger. There are circumstances, however, where yelling doesn't always mean aggression. This is the time to choose a better word for clarity's sake.

Say it better: "I hate those flying monkeys," Mark growled.

 

So, now you know! Look carefully at each sentence you write and consider redundancies.

 

Happy Writing.

 

 

Stymied: I versus Me.

 

 Stymied schmy-mied. I can answer this one for ya! Maybe.

It's a source of debate lately and understandably so. The English language is ever changing and evolving, not that it made much sense to begin with. Add creative writing into the mix, and you hear every kind of reasoning for bending, or sometimes shattering, the rules. But for grammar's sake (aside from the fact that I started this sentence with but), let's at least know what rule we're breaking and how, shall we?

I think I and me are one of the most common mix-ups I see, simply because the proper use doesn't always sound correct. It's a lot like not ending a sentence with a preposition, even though we all do that now. No one asks, "For what are you looking?" Well, unless you're tapping into your inner Shakespeare. 

So, what's the difference?

The traditional grammar rule states when a pronoun ( I, he, she, they, etc.) follows a linking verb (is, be, seem, appear, etc.) the pronoun should be in the subject case. It’s also called the nom-nom-nom “nominative.” Linking verbs don't describe an action so much as describe a state of being. When pronouns follow these non-action verbs, you use the subject pronouns such as "I," "she," "he," "they," and "we."

Confession: My mom was right. "This is she," is correct. Thanks, Mom.

What does it all mean?

That means it is grammatically correct to say, “It is I.”  Congratulations, gold-belted rat. You landed a mighty blow.

A few examples, WHY they work, and HOW you can think about it:

Try reversing the order of your statement and see what sounds correct.

Who won the grammar challenge? It was he. (He won the challenge, not him.)
Who covered the fight? It was I. (I covered the fight, not me covered it.)
Who cares? It is we. (We care, not us cares.)

See what I did there?

But wait ... silver-belted rat staggers into the center ring! He ... he's making a comeback!

90 percent of you are probably thinking, "Yeah, nobody talks like that anymore!" And you would be right. In the book, Woe Is I, Patricia O'Connor notes that almost everyone says, “It is me,” and that the “It is I” construction is almost extinct. (Grammar Girl)

The Merriam-Webster Dictionary of English Usage says that it’s a style choice, and that “It is I” is formal and, “It is me” is casual. Needless to say, unless you're clerking for NYU's English department or writing an article for The New York Times, you're probably in the clear ... in this matter! 

Happy writing!

I Killed an Adverb ... and I Liked It.

     "I believe the road to hell is paved with adverbs." ~ Stephen King, On Writing.  

Any seasoned writer has heard this phrase at least once in their life, yet it seems to miss the mark with many. I'm on the fence about them. Too often, writers tend to lean on adverbs like a crutch, using them as an excuse for lazy writing.

For example, "The book hit the floor loudly," is a sorry excuse of a sentence.

But what if that's what I'm trying to say? one asks.

Then say it better! If you want the reader to know the land is noisy, show them.

For example, "The book clattered to the floor." Better, right? Or this, "Pages fluttered against the wind before the book met the tile with an echoing crack." There are an infinite number of ways to improve the original sentence. It merely takes some effort! I assure you, it's worth the trouble. Once you learn to identify lazy writing, you soon begin avoiding it altogether. 

Things to Watch

Repetitive Adverbs: These would fall under the 'duh' category. Confession: I do this all the time, and I want to smack myself for it. 

For example, "Megan smiled happily." Well, yeah. How do most people smile, painfully? I realize one can smile and it be in sarcasm or even sadness. Most of the time, however, smiles are a result of joy, so smiling happily is redundant.

A few more examples would include, "Mindy bounced up and down excitedly," or "Todd paced back and forth anxiously." Again, there are times you'll need to clarify these actions to say more than the obvious, but it's rare.

Intensifiers: These are words which, you guessed it, intensify! Extremely, very, truly, honestly, massively, etc are all intensifiers. According to Grammar Girl, you should avoid these at all costs *except* in dialog ... if your characters are surfers. I truly ::wink wink:: love intensifiers, especially in YA. With teens, everything is bigger, stronger, and more intense. In my opinion, I find they work for me -- sparingly, of course -- because most of my characters are teens. I wouldn't recommend intensifiers if you're trying to be professional or in any way serious. 


Dialog Diatribe: This is one of the areas my editor calls me out every time. On occasion, I'm justified in using a particular adverb. These typically involve fast-moving scenes or places where there's already a lot going on, and I don't want to weigh it down. More often than not, adverbs attached to a dialog tag are a result of either unclear or lazy writing. Most of the time, the sentence should speak for itself. When you need more oomph, you add action. If all else fails, then and only then, you may use an adverb. But keep in mind, if you can read the dialog, and it's just as strong without the adverb, leave it out. 

The War of Worldcraft: Creating New Worlds

desigg.com

World building is one of the most important factors of a good story. It puts the reader in a place they've never been otherwise, so it's imperative they grasp the full concept laid down by the author. Unique details make this place its own universe filled with distinct (and oftentimes inhuman) characters, a government with unusual politics, and an unfamiliar social structure. The author has to take into consideration factors like the weather, varying laws, architecture, landscape, history, settings, biological factors such as animals and plants, mythology and so on. The more fantastical the world, the more building is required. The reader must have a good grip on your reality!

Some genres involve greater attention than others. My paranormal novel (The Willows: Haven) takes place on earth, but involves some non-human characters in enhanced places. The primary focus of my world building revolves around the social structure of this new society, the biological aspects of the beings themselves, some ancient history, a little architecture and mythology, and the law. This means I don't have to worry about creating animals like a chimera or filling the heavens with a purple moon. A good look at your story will determine which aspects affect your world-building.

This is a longer post, but I wanted to include everything I could! 
 

Social Construct/Law: This is an extremely important feature in Haven. The characters don't live under the same rules as humans. They have their own social constructs and hierarchies. Different laws govern most aspects of their lives, and it's very important that I make those laws clear to the reader. If the weight of their choices isn't felt, it defeats the purpose and loses power. What laws govern the world you've built? What are the consequences of breaking said laws?

Characters (Biology/Science): I don't want to get into "what" my characters are as I don't want to spoil it, but you already know they aren't human. While they have human traits, their biology is entirely different. The way they react to things in their environment, their preferences and requirements to thrive, are different from humans. It makes them what they are! This is one area where clear detail is imperative. If typical things such as food and sleep don't sustain them, something else does. Just like humans, there are requirements and limitations to flesh out here. The characters are as much a part of the "world" as the trees, unicorns, or space stations!

History: The history behind my characters' lives and situations is the basis behind the whole story. It's the thing that drives the plot. If there isn't reason for the characters to behave the way they do, then the story is going to fail. The events leading up to my protag's current state are the drive behind their social structure and law. Even if you don't have the history in your story, it's important to have it in your head. Cause must drive action, otherwise it's unrealistic. How did your world come to be? Is it a utopian society? Dystopian? What happened to land your world in its current state, good or bad?

Architecture: For most of Haven, the architecture is modern but hints at the life my protag experienced during her life. As the story unfolds, she's introduced to a society where the beings value nature and bend it to their purposes rather than destroy it. In a world where the characters are as much a part of nature as nature itself, I had to find a way to incorporate that. If you have a story set in the future, what about the buildings makes them unique? Is it their design? Is it some valuable or rare material that's never been seen or is at risk of disappearing entirely? What makes it special/scary/peaceful/exciting in your world?

Climate/Weather: For a lot of writers, weather isn't a big part of their story, but it's a part of your world nonetheless. What happens if your character gets caught outside in a storm without an umbrella? In my characters' world, nothing. They get wet. In Julie Kagawa's world, they get melted by acid rain. How does the weather affect your world? Is the ozone layer gone? Sounds hot and dangerous! Has the ocean risen to threatening levels? Have years of pollution damaged the Earth or is your character on a planet where it never snows?

Magic/Technology/Nature/Science: Do you have faeries walking around? Can they make potions? How about cyborgs? Do they have laser vision? Can your mermaids enchant people? Or do you characters live in the 21st century where iPhones are a dime a dozen, and like the rest of society, your guy can't function without telling his peers his every move through Facebook? Explore how magic, technology, and superhuman gifts play out in your world. 

Religion/Morality/Beliefs: Heaven knows we as people know where we stand on these issues. Why are these things important in your imaginary world? Are your characters at war over varying beliefs? Are your characters willing to go to the mats over a moral injustice? Or do they live in a world where immorality (by your unique world standards) is rewarded? Your world must have some code of standards to operate under, otherwise there will never be conflict.

Entertainment: How do you characters kick back after a hard day at work? What do they enjoy doing on the weekends or with their friends? Are they risk takers or bookworms? How does their playtime affect their lives?

There are countless aspects to consider when world building. Every tiny facet of life has to be addressed in some form or fashion and characterized if you want a believable setting. Find the balance in what to include.

Ask yourself a few basic questions and think about how it relates to your world.
 (borrowed from Janice Hardy)

• What is a normal day like for your protag? Your other characters?
• Who are your protag's enemies? (not just the antag, but people who don't like them) What social or economic group do they belong to?
• Who are their friends? What social or economic group do they belong to?
• What are the things your protag tries to avoid on a regular basis?
• What are things they try to get on a regular basis?
• Where do they fit on the social and economic ladder?
• Where do they live?
• Where do they work or go to school?
• What are some challenges living in that world present?
• What are some advantages living in that world present?

Happy writing!

50 Shades of Malibu Barbie.

A friend and I were recently discussing reading and how we've long since believed books should have a rating system. She was telling me about a group of preteens who were giggling and pointing at a fresh shipment of erotica novels that had just made it into the bookstore, before one girl finally bought a copy. Say what now?

Movies, video games, even adult magazines have age requirements. Where is that rule for literature? Why isn't there a difference between Harry Potter, a relatively innocent story about a kid in wizard school and Crank, a hard-hitting, in depth novel about substance abuse? Those novels really shouldn't be in the same section, but unfortunately, the problem has gone from watching the train wreck to being in it.

Erotica has always been around, but I'm sure most kids would sooner read their comic books than deliberately seek out a sexually explicit novel. But with the recent explosion of the world-renowned 50 Shades of Grey, finding an over-the-top book isn't a problem. And really, with the epic coverage this very adult novel has received, why wouldn't a barely-teen be curious about the subject of her mom's wildly successful book club? I'll bet the money-makers in this situation didn't consider that.

But it brings us back to the original subject. Why can a thirteen year-old child walk into a bookstore and openly purchase an erotica novel? Who gets to say this is okay? I have two young daughters, and I realize I'm responsible for what they read, but that doesn't assure they can't get a hold of something they shouldn't, even accidentally. If they wouldn't be allowed to walk into a movie theater and watch Pretty Woman, they shouldn't be allowed to walk into a bookstore and buy it off the shelves.

What do you think? Do you think literature should be more carefully monitored?

Social Lemmings

I generally don't double dip when it comes to blogging--this one is for writing, the other blog is more personal snarkasm--but my Bumbling Alice post makes sense here, too. So I'm double-dipping. Leave me alone.

There's never a shortage of people who want to hate on something, and half the time, I don't think they even know what they're hating on ... they just want to be a part of something. And I get that. Heaven forbid people have their own opinion. I mean, who wants to be out on that limb alone? No one. Even so, at least know what and why you hate this new breed of evil. Don't join a team of social lemmings who just follow the pack to their own watery demise in the name of being part of the "in crowd".

People love a person/book/band when they're in their prime, but the second someone bigger than themselves start running their mouth, we're left with a group of turncoats. We saw it happen with Charlie Sheen and Britney Spears, and we're beginning to see it happen with Justin Bieber. But I think the biggest shift in allegiance has been for poor ole Stephenie Meyer *cough* she's-laughing-all-the-way-to-the-bank *cough*.

Here's the thing, like it or not, Meyer moved millions of people to read. I've heard countless tales of people who've said, "I loved Twilight so much, I began writing. If a stay-at-home mom can be successful doing something she loves, so can I." Complain and say we have a plethora of crappy writers, but that's not the point. The point is, we now have people who are trying their hand at a thing they enjoy. Most will decide it's more work than they care to continue, but a select few will continue on, grow, and become successful ... the soon-to-be benefactors of all those vicious and fickle turncoats. Because as quickly as they attack without warning, they're just as apt to welcome you with open arms ... or wallets, if you have happen to be selling books.

Be who you are, because eventually, those lemmings are plunging off that cliff. Better make sure you know what's waiting at the bottom.

Peace. Love. Happy blogging.

Put a Ring On It: Commitment to Writing.

From bronswirlz13

I was thinking the other day about writing now and writing when I very first began Haven. After my 10+ year hiatus, it was like falling in love all over again. I stayed up all hours of the night, pounding away on the keyboard like a psychotic Mozart, less the innate mad skills to create genius without even trying.

When I made breakfast, I thought about the book. When I took a shower, I thought about the book. When I drove the kids to the park, yep, I thought about the book. I'd lay in bed for hours some nights, plotting and having conversations with the characters in my head. I'd sit up from a half-sleep and frantically scratch ideas on paper using only the insufficient light from my phone. Believe me, I have notes I can't even read, and the ones I can read are mostly nonsensical.

But I was completely in love with my project... I felt like a teenager again when everything was fresh and exciting. No matter how flawed my story might be, it was mine, and I was over the moon.

As time wore on and I made a genuine, till-death-do-us-part commitment, the glory began to fade. It wasn't because I'd lost interest in the project. It wasn't because something newer and more interesting came along. But now, the real work began.

Getting words on a page is the fun part. It isn't a struggle for me to come up with ideas or characters. The work is introducing those things in the way they deserve. We're a team, my story and I, and I want to be the best teammate I can for what's been given to me.

Instead of creating adventures, I found myself removing those things that didn't move the story forward. Plot holes here, irresolution there. I suddenly found I was patching up the relationship between my story and myself, and I didn't even know we were having problems.

According to the story, I wasn't devoting enough time to the characters' needs. Sometimes I took situations too lightly. I tried to work on it. But it's in my nature to make light of something that makes me uncomfortable. Apparently, my characters didn't like that. They wanted me to feel the things they felt so I could share that with the reader.

So, I adapted. I started listening and trying to be more understanding. I made sure to clean up my messes and take out the trash. I was more cognoscente of their plans when I made my own. Over time, our relationship began to flourish once more. Haven hit the shelves with a shiny new wedding band and all.

There have been a few naysayers along the way. Those people who spew out relationship advice left and right even though they've never been a part of a successful one themselves. They squawk like harpies flying overhead, pointing out all the things you're doing wrong. And I'll confess, their bitter words are as piercing as acid-tipped darts on bare skin ... if you let them be.

But I made a commitment to my writing a long time ago. I know I can't live happily without it. Writing has become a part of who I am and who I'll become. I may never be a J.K. Rowling of a success or a Tennyson of beautiful words, but I choose to love our relationship because it's ours. No one else has one like my writing and I do. For that reason, I can't let anyone else tell me how to manage it. I won't compare my relationship to the relationship of others, because no two are alike. When it comes to your writerly marriage, you find what dress fits YOU, because wearing someone else's just won't work.

A writing marriage, just like a real one, isn't always beautiful. You'll have up days and you'll have down. But just like a real marriage, you choose to make it work. The writing isn't going to bail on you, so the ball's in your court to maintain the passion. Ignore what others say unless it's helpful. Just remember, not everyone with an opinion is qualified to have one. Even crazies think they're right.

At the end of the day, it's just the two of you. Enjoy every heartache and every victory, because not only do you grow with each experience, so does your relationship.

Happy writing.

Why So Tense? Writing Past and Present.

Whether you write past tense or present tense is up to you. One thing that's not an option is falling in and out of one or the other.

Example: Bob sees Evie walking toward him, and so he waved hello.

Sees implies it's happening at that very moment, whereas waved means it's already happened. Jumping in and out of tense is not only incorrect, it's irritating as all get out. Your reader will quickly become frustrated.

So, past or present ... how do you choose?

To answer this question, I ask the following: Which do YOU prefer to write? Which lends itself more to the story?

For me, reading present tense is like being beaten repeatedly over the head with a teaspoon. It's irritating and unnatural in my mind. It completely pulls me out of the story until I can get used to it, and even then, I don't really enjoy it. I feel rushed as I read. Granted, my non-creative writing is more present tense, but that's a different post altogether.

I prefer to write past tense. It's what I like to read, and it's what comes naturally. Past tense makes the reader accept things have already happened, and therefore are inevitable. Nothing they can do will change it. For darker stories, this is a priceless advantage. That sense of hopeless, how-will-they-make-it? feeling drives the emotion behind the story. You can practically feel readers' tears as they come to grips with the character's despair or the destruction of their world, and the fact that there's nothing to be done.

A downside to writing past tense is this: The reader knows, if you're writing first person, that the character isn't going to die or suddenly cease existing. You are in the narrator's head. The narrator can't tell a past tense story if they're dead. Mostly not, anyway. I can think of some instances where that would work if, you know, you were a ghost or something. But still.

Another thing to keep in mind is, some past tense writing has a tendency to make you feel like you're reading the past. Sounds idiotic, I know. However, there are times you want to feel the history. If you have a story set in the future, or you have a fantasy/sci-fi/paranormal type of book, what the reader takes in becomes their history as well. It takes you to a new world with a past but also a future. The reader is completely immersed, feeling as if they're a part of it all. This wouldn't work as well set in present tense. Past tense causes a new world to feel real, credible. In my novel, there's a culture who's ancient but still around. Writing in past tense allows the reader to experience their lives from long ago, but connect with them in the present, too.

If I wanted to be dramatic and really draw out the story, I would go present tense, because it's so much more suspenseful. Present tense gives more of a sense of urgency and immediacy. Certain stories work better with present tense, mainly action, thrillers, suspense, and the like. Present tense causes the reader (and the character) to feel as if something is happening right before their eyes. If you truly want the reader to feel what the character feels as it's happening, present tense could be the better choice. It can work wonderfully if you're building a world in the present. Be mindful however, if you have a historical or fastasy-esque setting, and you want to bring the reader presently into the past!

All in all, both past and present have their pros and cons, and whichever works best for you is the way to go, but don't be afraid to experiment with tenses. You never know which might work best!

Which tense do you prefer and why?

Happy writing.

Aspire to Inspire: How Do You Measure Success?

I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel. ~ Maya Angelou 

I love this quote for so many reasons, but for this post, I love it because it captures the magic of a great book. Books have the ability to change lives. They lead us from the normal and mundane to a world filled with magic and mythology. They remind us what it was like to be teenager again. Books take us to faraway lands we would never see without them. They're our escape.

Think back to a year ago. Can you remember the best-selling books of 2011? Can you list the top ten best-selling authors? Do you know which YA novel held the New York Times #1 spot the longest? 

No? 

Now, think back to a year ago ... ten years ago ... even twenty. What books were your favorite? Which authors shaped your imagination, encouraging you to go beyond yourself and your reality to explore the unknown? That's a little easier to answer, I'd say.

A good book, in my opinion, isn't the one that sells the most copies. It isn't the one people talk about most or that gets made into a movie. A good book to me is one that I read, and it stays with me forever! Nothing changes you like a story. I strongly believe the things I read growing up shaped me into the person and author I am today. 

You have to tell the story that's inside you, not the one you think the world wants to hear. No one can write YOU like YOU. So, when you're feeling low about sales, ratings, or that one persnickety warthog who left a bad review, just remember this: Your story has touched someone and meant more to them than you may ever know. Don't measure success by a standard. Measure it by the life you influence.

A few of my all-time favorite books are ones many people may not know, but I'm eternally grateful to the authors who shared their imagination with the world. It's a better place because of you! You don't know how many lives you've inspired.

Here are a few of my inspirations: 

Mrs Duck's Lovely Day by Vivienne Blake -- This book taught me so much as a kid. In the story, Mrs. Duck travels around, trying to find that one, perfect place. It was in this story that I got to see the ocean for the first time through Mrs. Duck's eye. That's something a kid never forgets!

Goosebumps series by R.L Stine -- Anyone who lived through the 90's as a teen can relate to this. R.L Stine's paranormal world-building and knack for setting the scene in these MG books is great! The kids in the story are so relatable. I always imagined myself creeping up that dark staircase or wandering through the misty cemetery. I love these books to this day!

Song of Fire by Joseph Bentz -- This is a book different than the rest. I can't remember every detail about it. I don't recall the main character's name or details about his life. But I have a vivid recollection of the way it made me feel! At 13, this was the first real novel I ever read. It was the story that made me want to create worlds of my own. After reading Song of Fire, I started writing Haven. A special thanks to Joseph Bentz.

Kailmeyra Chronicles by Elizabeth Isaacs -- The first book that ever made me cry was The Light of Asteria. There's something about Elizabeth Isaacs' writing that touches your emotions like no other. Her writing is so deep and interwoven with meaning and symbolism. She's an author with the ability to shape your life, to cause you to stop and really question yourself.

What novels shaped your life? 

Happy writing!