Adolescent Fantasies
Tuesday, November 24. 2009
I've mentioned before in this space some of the common elements in my two novels-in-progress (links at top left of this page). They both have "everyman" protagonists, they're both told in close third person, and they both feature strong, beautiful women as love interests for the protag. The settings, plot, supporting characters, and essential themes of the novels are entirely different, but they do share these basic characteristics.
What worries me is the possibility that my work will be dismissed as "adolescent fantasy." It's almost happened already.
I wrote a short story which I shared on Critters quite some time ago, and which I rather liked. It had a protagonist and a love interest who are extremely similar in many ways to the corresponding characters in Bring Me to Life, except that these two jump into bed almost immediately, and their sex life is an important component of the overall setting. (In BMtL, there's a long, slow build to the boiling point, which is rather more satisfying to me personally, but wasn't right for the aforementioned short story.) No critter actually used the words "adolescent fantasy," but they were hovering just below the surface of more than one review.
Right, what exactly then constitutes an adolescent fantasy? Too much cleavage? Too much sex? A story that reads like the author couldn't get a date, so he had to write himself one?
In my opinion, if the "eye candy" and the sex are appropriate to the story—that is, meaningful beyond their mere existence as scenery—then there's no call for invectives. You can call my plot predictable or even juvenile, if you like. But it's no reason to imply that I'm juvenile for building a world that I find entertaining and hope others will, too. I don't believe my own tastes are that unique, or even that unusual.
Of course, all men are really still adolescents at heart. Most just won't admit it.
I've mentioned before in this space some of the common elements in my two novels-in-progress (links at top left of this page). They both have "everyman" protagonists, they're both told in close third person, and they both feature strong, beautiful women as love interests for the protag. The settings, plot, supporting characters, and essential themes of the novels are entirely different, but they do share these basic characteristics.
What worries me is the possibility that my work will be dismissed as "adolescent fantasy." It's almost happened already.
I wrote a short story which I shared on Critters quite some time ago, and which I rather liked. It had a protagonist and a love interest who are extremely similar in many ways to the corresponding characters in Bring Me to Life, except that these two jump into bed almost immediately, and their sex life is an important component of the overall setting. (In BMtL, there's a long, slow build to the boiling point, which is rather more satisfying to me personally, but wasn't right for the aforementioned short story.) No critter actually used the words "adolescent fantasy," but they were hovering just below the surface of more than one review.
Right, what exactly then constitutes an adolescent fantasy? Too much cleavage? Too much sex? A story that reads like the author couldn't get a date, so he had to write himself one?
In my opinion, if the "eye candy" and the sex are appropriate to the story—that is, meaningful beyond their mere existence as scenery—then there's no call for invectives. You can call my plot predictable or even juvenile, if you like. But it's no reason to imply that I'm juvenile for building a world that I find entertaining and hope others will, too. I don't believe my own tastes are that unique, or even that unusual.
Of course, all men are really still adolescents at heart. Most just won't admit it.
What worries me is the possibility that my work will be dismissed as "adolescent fantasy." It's almost happened already.
I wrote a short story which I shared on Critters quite some time ago, and which I rather liked. It had a protagonist and a love interest who are extremely similar in many ways to the corresponding characters in Bring Me to Life, except that these two jump into bed almost immediately, and their sex life is an important component of the overall setting. (In BMtL, there's a long, slow build to the boiling point, which is rather more satisfying to me personally, but wasn't right for the aforementioned short story.) No critter actually used the words "adolescent fantasy," but they were hovering just below the surface of more than one review.
Right, what exactly then constitutes an adolescent fantasy? Too much cleavage? Too much sex? A story that reads like the author couldn't get a date, so he had to write himself one?
In my opinion, if the "eye candy" and the sex are appropriate to the story—that is, meaningful beyond their mere existence as scenery—then there's no call for invectives. You can call my plot predictable or even juvenile, if you like. But it's no reason to imply that I'm juvenile for building a world that I find entertaining and hope others will, too. I don't believe my own tastes are that unique, or even that unusual.
Of course, all men are really still adolescents at heart. Most just won't admit it.
Can I Not Write?
Monday, November 23. 2009
Every once in a great while, something literally takes your breath away—you "forget" to breathe for a moment while your entire brain (presumably, even the bits normally just keeping the beat for you) is occupied in assimilating, understanding, appreciating what you've just witnessed. Breathing, a necessary component of simply living, takes a back seat temporarily to something the brain sees as far more important.
I think writing's like that for me.
It's been said that a "real" writer is incapable of not writing, that she's driven to do it above all else, that it's as essential to her well-being as breathing. That's been a worrisome idea for me, because there are long stretches of time wherein, though I would like to be writing, I just don't. Apparently, I'm not sufficiently driven by the basic need to write—I'm capable of not writing, therefore I must not really be a writer.
I've come to believe that the problem in my life is far too many things that "take my writing away." Putting words to paper is an essential part of my existence; I've proven that fact to my own satisfaction. I take great joy from the formation of eloquent prose, from setting scenes that are compelling, from working events to "aha" conclusions. I love to write. But I've been allowing myself not to do so, to put writing in the back seat for just a moment while something more important is going on.
No more.
I'm using this November's press toward 50 good hours of noveling to jump-start my writing future. Here's to getting priorities right, and spending more and more time on writing going forward.
Every once in a great while, something literally takes your breath away—you "forget" to breathe for a moment while your entire brain (presumably, even the bits normally just keeping the beat for you) is occupied in assimilating, understanding, appreciating what you've just witnessed. Breathing, a necessary component of simply living, takes a back seat temporarily to something the brain sees as far more important.
I think writing's like that for me.
It's been said that a "real" writer is incapable of not writing, that she's driven to do it above all else, that it's as essential to her well-being as breathing. That's been a worrisome idea for me, because there are long stretches of time wherein, though I would like to be writing, I just don't. Apparently, I'm not sufficiently driven by the basic need to write—I'm capable of not writing, therefore I must not really be a writer.
I've come to believe that the problem in my life is far too many things that "take my writing away." Putting words to paper is an essential part of my existence; I've proven that fact to my own satisfaction. I take great joy from the formation of eloquent prose, from setting scenes that are compelling, from working events to "aha" conclusions. I love to write. But I've been allowing myself not to do so, to put writing in the back seat for just a moment while something more important is going on.
No more.
I'm using this November's press toward 50 good hours of noveling to jump-start my writing future. Here's to getting priorities right, and spending more and more time on writing going forward.
I think writing's like that for me.
It's been said that a "real" writer is incapable of not writing, that she's driven to do it above all else, that it's as essential to her well-being as breathing. That's been a worrisome idea for me, because there are long stretches of time wherein, though I would like to be writing, I just don't. Apparently, I'm not sufficiently driven by the basic need to write—I'm capable of not writing, therefore I must not really be a writer.
I've come to believe that the problem in my life is far too many things that "take my writing away." Putting words to paper is an essential part of my existence; I've proven that fact to my own satisfaction. I take great joy from the formation of eloquent prose, from setting scenes that are compelling, from working events to "aha" conclusions. I love to write. But I've been allowing myself not to do so, to put writing in the back seat for just a moment while something more important is going on.
No more.
I'm using this November's press toward 50 good hours of noveling to jump-start my writing future. Here's to getting priorities right, and spending more and more time on writing going forward.
So Nice, I Wrote It Twice
Sunday, November 22. 2009
Now I know why people write first drafts of novels. It's so they can understand what it really is they want to write.
I haven't actually finished the first draft yet, but by the time I have the entire novel done and ready for its first thorough editing, it'll essentially be a second draft. That's because, as I've spent the past few weeks considering the characters, the setting, the themes, the plot, and all the mostly-formed components of the novel that I've managed to capture so far, I've been able to develop them further, think them through, and make them more complete, more compelling...better.
Now as I read back through the novel, I can see much more clearly the motivations that lead to the way characters act—and how to make them even more powerful. So I'm going to have to rewrite every scene, tweaking each one just a little, to give it that much more "presence."
It's exciting, yet daunting, having to write the novel [at least] twice. It's also going to take a considerable investment of time, so back to it...
Now I know why people write first drafts of novels. It's so they can understand what it really is they want to write.
I haven't actually finished the first draft yet, but by the time I have the entire novel done and ready for its first thorough editing, it'll essentially be a second draft. That's because, as I've spent the past few weeks considering the characters, the setting, the themes, the plot, and all the mostly-formed components of the novel that I've managed to capture so far, I've been able to develop them further, think them through, and make them more complete, more compelling...better.
Now as I read back through the novel, I can see much more clearly the motivations that lead to the way characters act—and how to make them even more powerful. So I'm going to have to rewrite every scene, tweaking each one just a little, to give it that much more "presence."
It's exciting, yet daunting, having to write the novel [at least] twice. It's also going to take a considerable investment of time, so back to it...
I haven't actually finished the first draft yet, but by the time I have the entire novel done and ready for its first thorough editing, it'll essentially be a second draft. That's because, as I've spent the past few weeks considering the characters, the setting, the themes, the plot, and all the mostly-formed components of the novel that I've managed to capture so far, I've been able to develop them further, think them through, and make them more complete, more compelling...better.
Now as I read back through the novel, I can see much more clearly the motivations that lead to the way characters act—and how to make them even more powerful. So I'm going to have to rewrite every scene, tweaking each one just a little, to give it that much more "presence."
It's exciting, yet daunting, having to write the novel [at least] twice. It's also going to take a considerable investment of time, so back to it...
Fearing to Go Into "The" Battle
Saturday, November 21. 2009
As I've further fleshed out my characters this week and also refined my plot arc to reach the end of this (first!) book, it has become clear to me that there must be another major battle on Hell.
I've already written one battle on that pseudo-planet, where my protagonist met a being he calls the Devil and, despite his best efforts and those of some of his friends, he was overcome. Of course, his defeat wasn't final, and Evan lives to fight another day. He'll be back, but with reinforcements, a great deal of soul-searching behind him, a new sense of his place in the multiverse, and greater confidence in himself and his capabilities. It'll be a rematch, taken to the next level.
It's going to be cool. I'm afraid to start writing it.
That first conflict on Hell just flowed from my fingers (a year ago now!), and though I've done revisions on it over the past several months, I haven't changed the essential structure of the prose, the order of events, or how anyone acts and reacts in the scene. I've just done a little "tidying up." But as I've mentioned before, I sometimes have trouble trusting myself to simply write what I ought to write.
There are no less than three "twists" in the action during this final battle that I've already planned; one of them is the climax of the entire novel. Can I set myself loose and expect that I'll be able to weave in all the requirements for the scene, without writing myself into a corner?
I guess I'll find out soon. I want to write that final battle sometime in the next week, because it's going to be the scene that defines the book, and will really make me feel that I can finally finish it.
I can't help but feel a little nervous as I prepare to go into battle, though.
As I've further fleshed out my characters this week and also refined my plot arc to reach the end of this (first!) book, it has become clear to me that there must be another major battle on Hell.
I've already written one battle on that pseudo-planet, where my protagonist met a being he calls the Devil and, despite his best efforts and those of some of his friends, he was overcome. Of course, his defeat wasn't final, and Evan lives to fight another day. He'll be back, but with reinforcements, a great deal of soul-searching behind him, a new sense of his place in the multiverse, and greater confidence in himself and his capabilities. It'll be a rematch, taken to the next level.
It's going to be cool. I'm afraid to start writing it.
That first conflict on Hell just flowed from my fingers (a year ago now!), and though I've done revisions on it over the past several months, I haven't changed the essential structure of the prose, the order of events, or how anyone acts and reacts in the scene. I've just done a little "tidying up." But as I've mentioned before, I sometimes have trouble trusting myself to simply write what I ought to write.
There are no less than three "twists" in the action during this final battle that I've already planned; one of them is the climax of the entire novel. Can I set myself loose and expect that I'll be able to weave in all the requirements for the scene, without writing myself into a corner?
I guess I'll find out soon. I want to write that final battle sometime in the next week, because it's going to be the scene that defines the book, and will really make me feel that I can finally finish it.
I can't help but feel a little nervous as I prepare to go into battle, though.
I've already written one battle on that pseudo-planet, where my protagonist met a being he calls the Devil and, despite his best efforts and those of some of his friends, he was overcome. Of course, his defeat wasn't final, and Evan lives to fight another day. He'll be back, but with reinforcements, a great deal of soul-searching behind him, a new sense of his place in the multiverse, and greater confidence in himself and his capabilities. It'll be a rematch, taken to the next level.
It's going to be cool. I'm afraid to start writing it.
That first conflict on Hell just flowed from my fingers (a year ago now!), and though I've done revisions on it over the past several months, I haven't changed the essential structure of the prose, the order of events, or how anyone acts and reacts in the scene. I've just done a little "tidying up." But as I've mentioned before, I sometimes have trouble trusting myself to simply write what I ought to write.
There are no less than three "twists" in the action during this final battle that I've already planned; one of them is the climax of the entire novel. Can I set myself loose and expect that I'll be able to weave in all the requirements for the scene, without writing myself into a corner?
I guess I'll find out soon. I want to write that final battle sometime in the next week, because it's going to be the scene that defines the book, and will really make me feel that I can finally finish it.
I can't help but feel a little nervous as I prepare to go into battle, though.
Be Still and Know...What Your Plot Is
Friday, November 20. 2009
Wow, it's so difficult for me to set aside time just to sit and ponder. I did manage to do that at least once this week, though—I spent about an hour relaxing outdoors, enjoying the wonderful Florida November weather, feeling the sunset...and making notes.
I have to do this more often.
Once I allowed myself to calm down, disconnect from the "real world," and explore my fantasy world in my head, the discoveries I was able to make in only an hour's time were amazing. I "learned" things about my characters' motivations that suddenly made some of their stranger actions understandable. I saw how all the varied parts of my setting were connected at a fundamental level, and what that meant for some of the answers my protag was still seeking. Most importantly, I drew a complete plot arc, and a new fundamental truth (theme) appeared.
The flame's fanned again, and I'm excited to see how this novel's going to turn out, whether it will get its message(s) across effectively and enjoyably. Of course, I have to do about three hours of work a day for the rest of the month to make my goal of 50 hours of novel toil for November.
This week, I also discovered a great new tool for writing down and keeping track of ideas, plot points, etc. It's called "pen and paper," and it's revolutionary. The user interface is so intuitive! And its freeform input capabilities are amazing. Can't seem to get the search or online help to work, though...perhaps in v2.0.
Wow, it's so difficult for me to set aside time just to sit and ponder. I did manage to do that at least once this week, though—I spent about an hour relaxing outdoors, enjoying the wonderful Florida November weather, feeling the sunset...and making notes.
I have to do this more often.
Once I allowed myself to calm down, disconnect from the "real world," and explore my fantasy world in my head, the discoveries I was able to make in only an hour's time were amazing. I "learned" things about my characters' motivations that suddenly made some of their stranger actions understandable. I saw how all the varied parts of my setting were connected at a fundamental level, and what that meant for some of the answers my protag was still seeking. Most importantly, I drew a complete plot arc, and a new fundamental truth (theme) appeared.
The flame's fanned again, and I'm excited to see how this novel's going to turn out, whether it will get its message(s) across effectively and enjoyably. Of course, I have to do about three hours of work a day for the rest of the month to make my goal of 50 hours of novel toil for November.
This week, I also discovered a great new tool for writing down and keeping track of ideas, plot points, etc. It's called "pen and paper," and it's revolutionary. The user interface is so intuitive! And its freeform input capabilities are amazing. Can't seem to get the search or online help to work, though...perhaps in v2.0.
I have to do this more often.
Once I allowed myself to calm down, disconnect from the "real world," and explore my fantasy world in my head, the discoveries I was able to make in only an hour's time were amazing. I "learned" things about my characters' motivations that suddenly made some of their stranger actions understandable. I saw how all the varied parts of my setting were connected at a fundamental level, and what that meant for some of the answers my protag was still seeking. Most importantly, I drew a complete plot arc, and a new fundamental truth (theme) appeared.
The flame's fanned again, and I'm excited to see how this novel's going to turn out, whether it will get its message(s) across effectively and enjoyably. Of course, I have to do about three hours of work a day for the rest of the month to make my goal of 50 hours of novel toil for November.
This week, I also discovered a great new tool for writing down and keeping track of ideas, plot points, etc. It's called "pen and paper," and it's revolutionary. The user interface is so intuitive! And its freeform input capabilities are amazing. Can't seem to get the search or online help to work, though...perhaps in v2.0.
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