What Matters

I just finished taking my second drawing class of the year.

I’ve always wanted to be able to draw, but back when I was a kid I was told I was no good at it, and somehow I took that to heart. After all, I had lousy handwriting (still do) and poor fine motor skills. And the myth that you had to have “talent” to do all kinds of things was overpowering back then.

Maybe it’s still overpowering.

Anyway, I’ve now taken two drawing classes, picked up some technical skills, and lost my fear.

I’m not doing this for any particular purpose. I just want to draw. It seems to me that understanding the basics of drawing – the tools, the techniques, the ways of seeing – is very useful regardless of whether you want to be serious about making art.

The underlying context I picked up as a kid was that if you aren’t naturally good enough something, you shouldn’t waste time on it. Only do things you’re good at.

And of course, if you did have enough talent to be seen as good at something creative, you were told you shouldn’t do it because it wasn’t “practical.” How are you going to make a living with that, everyone said.

Our drawing teacher told us this week that he quit his career in architecture to make art full time and is so much happier. Practicality isn’t everything.

He also told us he really enjoyed teaching us and he was very good at being encouraging about our efforts while still showing us what we missed.

I think part of the reason he liked teaching us was because we were a bunch of grownups taking a class for its own sake and invested enough to do the work. Because the work is the whole point here.

That was one of things I always liked about teaching Aikido: people were serious and were there to learn. People trained because they wanted to train, not with any larger goal in mind.

I trained for those reasons. And, by the way, I was not “naturally good” at Aikido. I just loved it – and karate before it – too much to be discouraged.

Continue reading “What Matters”

Books for Writing

I am at the beginning of writing a book. I’ve done this before, like, multiple times. The beginnings of books are fun. I start out with something–sometimes an opening line, sometimes an opening scene or chapter or (in at least one case) ten chapters, and I keep adding things in and following loose characters down dark alleys and exploring…

Then I realize that if it’s actually a book it will have to go somewhere, and the process of narrowing and aiming and refining begins. And at that point things often grind to a halt. This has happened before; it should be a familiar process. But every time, every. damned. time, I go through something like this, and every damned time I’m flummoxed.

Generally I have some idea of where I’m going. When I’ve described the process before I say that it’s a little like driving over countryside. I have a topographic map at my side, and there are perhaps some places I know I need to hit–his hill, that river, that quaint village over there. And I have an idea–sometimes quite a clear one–of what the destination is. In Point of Honour, for example, I knew that I was pointed toward a scene at the end at which my heroine and the heretofore unsuspected villain of the piece have a showdown. But when I was writing The Stone War I just knew that somehow my hero had to find a way to bring peace to an embattled New York. So… like that. I don’t have specifics, just a direction. Until the specifics reveal themselves.

But at some point that non-specific approach can make me grind to a halt. When I hit a “where is this going anyway” roadblock I have a number of tricks I use to get things moving again. They don’t always work; sometimes it just takes time, and then one day I wake up and start noodling and the block dissolves. Sometimes if I write a scene closer to the end of the book it helps me figure out that destination point (even if I don’t use that scene in the final book). Sometimes I retype the book up to the point where I ground to a halt (there are books where the first 5-10 chapters were retyped several times, to the detriment of my wrists). And sometimes I make a list of books to read that I feel, in some inchoate way, do something I want to be able to do with the book. What that something is is not anything very clear cut. For example, here’s a list I made this morning of books I need to re-read, in no particular order:

  • The Goblin Emperor, by Katherine Addison
  • The War for the Oaks, by Emma Bull
  • I, Claudius, by Robert Graves
  • The Magicians, by Lev Grossman
  • Why Are All the Black Kids Sitting Together in the Cafeteria, by Beverly Daniel Tatum
  • The Once and Future King, by TH White
  • The People, by Zenna Henderson

Others may occur…as I’m thinking about this, inspirations can spark other inspirations.

Does this give you an idea of what I’m writing about? If I can get this book to behave and decide where it’s going, it will be unlike anything else I’ve written (at least I think so–you don’t always know what your subconscious is throwing into the mix).

If you need me I’ll be in a corner with a pile of books, looking for inscrutable inspiration. And clarity. Ah, clarity.

What’s at Stake?

I’m working on a sequel to For the Good of the Realm. My writing process includes reading back over what I’ve written not just to avoid actual writing (though of course that happens) but to understand what I’m doing.

I am a pantser through and through, so I not only figure out where something is going while I’m writing, I also sometimes understand what it is I’m actually doing when I read back over the work and realize what I did.

I’m sure this description of my process will drive other writers nuts, especially those whose mind works in linear paths. I don’t recommend it, but I seem to be stuck with it. I rarely know what I’m doing until I actually do it and sometimes I don’t know what I’m doing until long after I’ve done it.

Anyway, in my latest re-read, I came upon this bit of dialogue:

“But real adventures only happen when everything is at stake,” Asamir replied. “That is what makes them adventures.”

I love those sentences. (That’s another nice feature of my process: every once in awhile I discover I’ve written something that I find spectacular. Sometimes I even say, “Wow. I wrote that?”)

When I wrote those words, they were just a bit of dialogue thrown in after Anna, the main character, has explained to her friends Asamir and Cecile just how challenging their mission was going to be. But looking back at it, I think it addresses something that’s very crucial to writing a good adventure story:

Something important must be at stake.

Continue reading “What’s at Stake?”

Wizardry

In September 2016, a writer-friend called Helen asked me to write a post about one of my novels for her blog. This novel has now been translated into Greek, has a lovely audiobook, and has cool merch (me, I like the teddybear the most). Why did I choose this blogpost? Mainly because Helen Stubbs and I talk about Greek food a lot. She has the right ancestry and I grew up in the right part of Melbourne. And, of course, there’s that Greek translation.

Helen suggested I talk about my new book The Wizardry of Jewish Women. I instantly wanted to write you a post about why she suggested it, the contexts, the places, the people. That’s because my new novel is about all these things. I’m living in a world that’s got History and Culture and Much, Much Cooking until I move back into writing mode. When I’m back into writing mode, I’ll be thinking about genders (many genders) so I think you’ve got the simple end of things here.

While The Wizardry of Jewish Women isn’t autobiographical (which is a shame – I really would like those children to be mine!) it borrows a lot from people I’ve known and things I’ve done. Those cold corridors in Parliament House and the meetings and the policy papers that keep one character up at midnight: they’re stolen from my life. How they operate in Judith’s life has nothing to do with my life, however. I transformed my experiences when I gave them to Judith.

I’ve transformed things the whole way through. Even my mother (who makes a guest appearance) has been transformed.

This is nothing new, and it’s nothing unusual. Fiction is not reality. Fiction is invention based on whatever threads we spin and whatever weave we choose to make with those threads. The reason it’s particularly important in this case is that early readers thought the novel was autobiographical. Some thought the historian was me, while others thought the enthusiastic feminist was me. I put both characters in, so that readers could see that just because a historian appears in fiction, doesn’t mean that I’m that historian and just because I use places I know (like Parliament House) doesn’t make it autobiographical.

Some writers thinly disguise their lives and use novels to explain the truths of their existence. Me, I’m more likely to take something I’ve done and make it into something entirely new. My life is the ground under a trampoline, and my novel is the trampoline and my characters only touch the ground by mistake.

A lot of fantasy writers do this, especially those that write at the realist end of fantasy. We take our reality and we transform it. That transformation always happens. It has to happen. Without that transformation, the novel wouldn’t be a fantasy novel. Without that transformation it would be an entirely different story, but also an entirely different kind of story.

To create the transformation I start with things I know (the corridors of Parliament House) and I place them in the world of the novel. I spend a lot of time creating the world of the novel, because it’s the trampoline and without it my characters end up on the ground or suspended in midair. For the world of this novel, for example, I invented a house in Newtown and one in Canberra and one in Ballarat and one in Melbourne. I know the floorplans and the squeaks of the floorboard and the colour of the carpet. None of these houses are real. This is unlike the house in Ms Cellophane, which is quite real. Ms Cellophane is a different novel, and I created the world of the novel differently.

When he launched Wizardry, the wonderful Michael Pryor commented on my complex magic system. It’s complex because it’s real. I didn’t follow writerly instructions on how to invent a magic system, I studied historical magic (wearing my ‘historian’ hat) until I had a good sense of how various forms of Jewish magic would meet at a point in history and create the one my characters discover. In the process, I also learned how Jewish magic was similar and quite, quite different from Christian magic and how the cultural mindset that created it also created what we see as modern scientific thought. Creating the world for this novel changed the way I see our world. It made me realise that my family has no magic tradition due to what it has suffered historically.

The big lesson I learned in creating the world for my novel was that people change and adapt in order to survive. I learned that one of the things I was doing in this novel was re-creating a world that could have been. The magic in the novel was one of the traditions lost to most of Western Judaism due to persecution. We lost a lot more than magic, but the magic was an emotionally safe way for me to talk about the other things.

Survival involves loss and damage and hurt. Even survival of smaller ills is damaging. Feminism and Judaism have a lot in common. They care about seeing the damage and healing the hurts of humanity. They care not just about living, but about living a good life.

This is why my novel is about feminism and about Judaism. I wanted to show what it was like to live hurt and to survive, to make wrong decisions and nevertheless to keep on going, to see life as a continuing challenge and to try to heal. If our reality is the ground under the trampoline, then this is the netting that links the frame to the play area.

Despite the trampoline metaphor, this isn’t a metaphorical novel. Despite the fact that it’s not about me, it’s not so very imaginary. Wizardry is set in a world exceptionally like ours, but with Jewish magic.

I didn’t want to talk about the time of adventure and the time of damage – I wanted to explore how women heal themselves and heal others. It’s a small world. My characters don’t explore the universe, they play on their trampoline. It’s enough for them.

Sometimes it’s too much. Sometimes they turn to the Dark Side. Sometimes they turn to pink tutus. Sometimes they turn to food.

It’s funny that people are asking me about the feminism, for there is as much chocolate as there is feminism. This is because my characters don’t bounce naked. I have to dress them and give them the various parts of their lives, from a giant teapot to a liquor cabinet. I didn’t just research the magic system and I didn’t just build on feminism and Judaism.

Whatever my characters see and feel when they jump on their trampoline is theirs and theirs alone.

Writer’s Round Table: Pros Give Advice on Writer’s Block

A few years ago, a friend wrote poignantly about what it’s like to be blocked. I asked some pro writer friends for words of encouragement. This is from a well-known, NYTimes-best-selling author:

WRITER’S BLOCK

I am sitting here looking at a fic I have not touched since 2007.  I have 135K done, including the last scene…or, about 2/3 of the total fic.  I am ALSO sitting here looking at a novel that was due three years ago, for which I have something similar to an outline and the first 50K written (only 100K to go, right?)

I’ve been writing fanfic and profic since the 80s, and dealing with blocked, derailed, and MIA stories for most of that time.  Here are some of the strategies that have worked for me.  (NOTE: some of these ideas are mutually-exclusive, because every writer writes differently.)

  1. WELCOME TO THE GULAG: Block out a specific time and place where you do the same thing every day: sit in front of the screen and make words come.Doesn’t matter what you write, or even if you don’t write.  Just be there doing nothing else (no shopping, no reading AO3, no social media) for that one or two hours (no more) each and every day (same Bat-time, same Bat-channel).  Eventually your brain gives up and you get to write what you want to write.

1A. If absolutely nothing else will come to your fingers, choose a favorite book (or longfic) and retype it.

  1. FACE THE MUSIC: Between day job and commute (long) I was really bushed when Writing Time arrived in the evening.I just didn’t have the energy—but I did have a deadline.  Solution?  ROCK’N’ROLL BAY-BEE!!!  I wrote two novels to “Bad To The Bone”.  Just that one track.  On infinite repeat.  Loud.  So pick a piece of music, declare it your writing music, and hit “Repeat” on iTunes.

2A: Earphones are a great help.  Use the sport kind that leave your ears free.

  1. WELCOME TO THE MACHINE: When I would dry up working on a piece—and we are talking YEARS in some cases—it was often because I was trying to take it in the wrong direction.I learned to recognize that feeling when it came and take a step back.  (You can either wait for inspiration to come—I know! I know!—or try to negotiate with your subconscious.  Or, yanno, try to REASON your way through to the answer.)

3A. Sometimes switching to another project will help.

  1. PRESENT COMPANY: 95% of all fic is written in the present tense, for reasons that utterly escape me (even though I do it too).Try taking your blocked piece and changing it to past tense.  Or first person.  Anything to get The Muse—AKA your subconscious—awake and grumbling.  (When you have annoyed it enough it usually gets back to work.  Nobody knows how much annoying is the exact right amount, though.)
  1. THE WALLPAPER IS ALSO A CHARACTER: Back in the beginning, when typewriters ruled the earth. I made a solemn vow not to stop for the night before I had two pages (500 words).And when nothing else would come, I described the background.  Or the weather.  Or the furniture.  (Amazingly, all those descriptions didn’t look out of place when the book was done.)

5A: The corollary to this is THE MAGIC TCHOTCHKE: Every story needs one important and well-described item.  It might be a magic sword, a 1967 Chevy Impala hardtop, a big stone ring built by Ancient astronauts.  Find out which it is in your story and show it some love.  And if your story doesn’t have a magic tchotchke yet, consider adding it.

  1. INERTIA CREEPS (MOVING UP SLOWLY): If you know what comes next, tell yourself.Use any words you need to for writing down the information.  Sometime this is called a scene-by-scene breakdown.  It is very familiar to the “treatment” for a film (most good books on screenwriting will show examples of treatment style).  Once you have a version of what happens, you can poke at it to see if it’s the “real for true” version.  Then you are one step closer to finishing the story.
  1. EURIPEDES, YOUR PANTS ARE READY: There are essentially two kinds of writer: the Pantser, and the Outliner (I’m both.Sue me.)  The Pantser begins a work with a vague idea of where it might be going and an enthusiasm for the journey, and not much more.  The Outliner wants a roadmap, a GPS, and the location of every Rest Stop along the road before beginning.  The takeaway here is that BOTH METHODS WORK WONDERFULLY WELL.  Except if you’re a Pantser who’s trying to follow a detailed outline.  Or an Outliner who’s decided to just go with the whole Inspiration thing.  Figure out which kind you are, and nurture that writing-self.
  1. LOOSE LIPS SINK SHIPS (THE “I WILL GO DOWN WITH THIS SHIP” REMIX): Writing takes emotional energy.So does talking about your WIP.  If you deny yourself the outlet of talking about your story while it’s in progress, you might just find that (since you are looking forward to all those lovely comments) this gives you enough oomph to unlock your Muse.

And don’t forget The Broccoli Test, The Bechdel Test, interviewing your characters, and the story’s Blooper Reel.  (I’m hoping somebody else will cover these in depth?)

Good Luck!

— Dejah Vue, Writer of Two Worlds

Tradition and cholent

I’ve been looking at maps this week in my spare time and it was Purim over the weekend. Purim is an historical festival, not so much a religious one, so I always try to make sense of a bit more Jewish history as my learning for the celebration. I was perplexed as a child when non-Jewish families didn’t do learning as part of their celebration. This is a tradition. My tradition is not that of Fiddler on the Roof! and the song “Tradition”.  It is learning and food, much food. There are many Jewish cultures. Learning is one of my favourite bits. It ranks as high as chicken soup.

When I was a teen, I had this conversation.  It began with me asking, “What did you learn for Christmas?”

“I got these presents, let me show you. You show me your presents, too.” Chanukah collided with Christmas that year, as it did from time to time, but my friend was totally baffled when I showed her my present for fifth night, which was a small box of Smarties (Australian M&Ms). Me, I had present-envy. I didn’t get presents such as hers even for my birthday.

I am a slow learner. The next Easter I asked a Greek Orthodox friend.

“What did you learn for your Easter?”

“We didn’t learn. We dyed eggs red and cracked them.” She had some dye left over and we totally messed up my mother’s kitchen and destroyed many candles making decorated eggs. We didn’t crack them, because Easter was over. We put them in a bowl and left them on the counter until my father complained about the smell.

Later I found that not all Jews learn every festival. But it’s my tradition and I love it.

This year’s choice for Purim was propelled by the sad fact that historical research and research for novels all take planning. I was considering actual Jewish populations along the Rhine at different times for something I’m looking into later in the year. I had a crashing thought that had me investigating maps last week. I used Purim to give me the time to make everything make sense. Tomorrow I’m back to my regular resaerch, which is currently wholly in literary studies

For all this (except the literary studies), I blame cholent.

Cholent, the dish, is a Jewish slow-cooked casserole from (mostly) Eastern Europe. Its name, however, most likely comes from French. We talk a lot about European Jews migrating east, but the most popular explanations and timing don’t fit Western European history. Yiddish is a lot more recent than the first migrations, and… it’s complicated. I made it understandable using maps. The maps themselves don’t explain things – they triggered the explanations, which is why there are no maps in this post and only one link to one. I answered a lot more questions that night and this weekend than I could give in a post – the question of Jewish movement eastward, for instance, must wait.

I began with a map of the Roman Empire at its pre-Christian peak. There were millions of Jews distributed throughout the Roman Empire as citizens, as non-citizens, and as slaves. I’ve seen estimates of numbers ranging from one million to ten million, and I usually use four million as a compromise number to work with.

Four million is over a quarter the size of the modern world Jewish population so, a while back I calculated how many Jews we would have around today if history had been kinder. It was in the vicinity of 320 million. Eighty million if you take the minimum number of Jews in the Roman Empire and over a billion using the largest estimate. We would not be such a tiny minority, in other words, if we had progressed simply because the world population has expanded and we had not been forcibly converted, mass murdered, exiled, enslaved, enthusiastically converted to other religions and so forth.

Populations follow trade routes and you can see evidence Jewish life along all the Roman trade routes. Well, all those where anyone has looked. Antisemitism is so deeply ingrained in our societies that many experts demand far more evidence for a Jewish burial than, say, a Christian one. There is a lot that probably needs to be re-evaluated in the archaeological record if we want to know actual Jewish populations in most areas.

Assessing the written record is easier, but not in a good way. The vast majority of Jewish records have been destroyed, and we’re reliant on surprising survivals such as the Cairo genizah. This means our knowledge through writing is patchy from anyone Jewish, because of the destruction, and biased from anyone else. Occasionally the bias is positive. Occasionally.

This means we really don’t know a lot about how many Jews lived in the Roman world, where they lived and how they lived. We know a lot more than we did, but we still have big gaps. We do know, however, the geographical limits of Jewish life and the trade routes related to much of the Jewish everyday.

The next map I thought of, then, was of Charlemagne’s empire at the time of its division into three, 843. I was thinking of places that were more antisemitic and less antisemitic and they pretty much follow this divide. It was easier to be Jewish in the central band of the empire (the one with Charles’ capital – which makes sense, because his personal confessor converted to Judaism and this does not seem to have ended the world) and a few key places nearby. These are all, in modern day Europe in eastern France (usually the parts that also speak German), the Saar, Italy, Provence and Burgundy. This became the Jewish heartland of non-Hispanic Europe in the Middle Ages.

It is the original Ashkenaz. It’s the Ashkenaz that made European Jewish marriages one husband to one wife, but refused to relinquish divorce despite enormous pressure from local Christians. Rashi, one of the great Medieval scholars, used the word ‘akitement’ for divorce: marriage in Judaism was and is a contract that can be acquitted, it’s not a covenant. European Jewish was both Jewish and European and that wide strip of territory that formed that heartland explains a great deal about us.

Ashkenazi culture spread east and changed and that’s a story for another time. It began to spread early enough so that ‘cholent’ could have a French name: it came from the Carolingian Empire after French developed as a language. Not before the eleventh century. Which is interesting because… I have another mental map for that.

In the late 8th century, a Jewish trade network operated from that region (and possibly Champagne). We don’t know a lot about it, but when I looked at its most known route, Jewish traders used those ancient fairs, with a special focus on Medieval fairs. I have a book with maps of every town in that region that had a fair in the Middle Ages and the dates we know those fairs operated and I cannot find it! So this is work for my future, after my thesis is done.

The Rhadanites were gone about the time that the Khazar Empire declined and fell, and one of their trade routes led to the heart of the Empire, so that’s something else to explore one day. About the time both faded from view, the Crusades began in Europe and persecution of Jews became far more severe. But… right until the mid-20th century, those towns were part of larger trade routes and had Jewish communities.

Every trade fair needed a route to the fair, and each stop was a town usually between 15-20 miles from the previous and also served as fairs for local farmers. In the Middle Ages, prior to all the murders and expulsions, so many of these towns had Jewish traders and craftspeople. And so many of those families would have cooked cholent or an equivalent.

This is a small fraction of what I spent one night and one Purim sorting out. I have to leave it now until September. I’ll write it up more accurately and less improperly when I’m actually working on it. In other words, these are my early thoughts.

Why did I share them with you, then? Part of the family tradition of learning includes talking about things. If anyone wants to talk about these subjects, this is a good place and a perfect time. Why perfect? Because all my thoughts are halfway right now. I could be very, very wrong in how I see things.

There is a tradition to this learning. The tradition is that you have to prove anything you want to challenge. Evidence! When I was a child and we argued without evidence it occasionally led to very sophisticated behaviour, such as the sticking out of tongues, which got us into trouble. Evidence is safer than the sticking out of tongues.

What’s the aim of challenging and providing evidence? That the learning may continue… (kinda like the spice must flow).

 

Of books and migraines and dancing

I am drinking a triumphal cup of tea. A very weak and immensely huge triumphal cup of tea. There is a story behind this cup of tea, and the triumph. A tiny story, but a story.

I’m in the middle of one of my longer migraines. This one is in its fourth day. As migraines go, it’s very mild. I find it hard to see things and almost impossible to sleep, I’m sensitive to sound and my emotional peace fractures easily. I’ve had worse. Much worse. The low pain levels (for a migraine) are due to the wonder of becoming older. Some things improve with age, oddly.

None of this is the story of my triumph. It’s the backstory.

I have lost so much worktime to this migraine that I had begun fretting about deadlines. I have a thesis to finish: the biggest chapter was supposed to be in a complete draft by Monday, and where I am it’s Tuesday. I need to get some edits to an editor (who else would one send edits to?) urgently, and can’t find a bio to go with the edits. I have a really cool piece to write in the next two days. And I have a short story to finish. I need to deal with 100 emails by bedtime tonight. Plus, as soon as I finish that chapter, I’m onto the next one. This PhD is in its final months and deadlines aren’t as porous as they once were.

Now you have most of the backstory. I’ve brought you to 4 am today, when I finally admitted that the migraine would not go away and that I had to find a way to deal.

The triumph is perfectly simple. Skip most of today, and let’s move to ten minutes ago.

I have a section of a bookshelf. It holds maybe 80 books and is ¼ of the whole (very large) bookshelf. This section is my working shelf for any research. It had gaps and space because I had not yet returned all the books for this chapter. I have finished with all but one book and the shelves are very full. One day I’ll have to return the books I won’t need again for this project to their real homes on other shelves, but right now I only have one book to return and two tiny sections of the chapter to write up and lo, I’m caught up with one big deadline.

I needed something to take the edge of the migraine before I delve into the last two thousand words, and the triumphal cuppa is that something. Small things matter. So do the simple tasks that enable one to work through this lesser-stage of such a long migraine.

I was going to tell you about a cousin of mine today. A folk dance teacher who taught people to deal with problems of right and left foot by wearing different coloured socks and shoes. On the day I heard he died, I watched Easter Parade with a friend. The “I do not know my right from my left” made its appearance there, hours before I heard the sad news. I haven’t seen Robin for years, but as soon as this migraine is past, I shall dance something in his honour: it will be a short and simple dance because dancing is difficult for me these days, but it will be joyous. We talked about death many years ago, you see, and Robin wanted people to dance joyously when he died. I told him that same day, that I wanted to be remembered with stories. I wanted friends to get together and talk and eat and laugh and tell stories. I shall miss him.

My Worldbuilding Weekend

(2008-09-07 10:23)

Folks must be writing New Ceres’ stories – I’m getting asked lots of stray questions about the universe.

For the record, Matt’s questions are the best [New comment: Matthew Farrer – whose story was published in the New Ceres anthology.] This is partly because he understands the nature of shared universes so deeply and respects them; it’s partly because he is such a good writer; and it’s partly because he pays attention. The worst questions (and I won’t name names) are from someone who wants a high tech story and wants to superimpose it on a static backdrop and even some of the physical fundamentals of the world are expected – in this particular writer’s mind – to change to fit plot needs.

This made me think.

This is hardly the first time I have had lots of people ask me about universes and worldbuilding. I get Medieval questions all the time, in fact. I’m doing a Sydney workshop on the stuff of the Medieval imagination in October, which just shows this sort of question is a regular part of my existence.

Each and every writer who talks to me brings with them a set of assumptions. Some of these assumptions are about the way research fits with writing. Some are about the way a given society works.

Some of them are about the story line and characters. The writers who frustrate me are the ones who assume that they can twist everything to fit. That static backdrops make for perfect fiction.

Why bother attempting proper world-building, whether it’s for historical fiction or speculative fiction, if your attitude is going to undermine your writing (and your world building) before you begin? Because that attitude does undermine the believability of the world. It carries through to the reader, always. [New comment: the problem is that New Ceres wasn’t designed for static backdrop, not that static backdrop is never suitable for fiction. In using the world as a painted cartoon background, the world would have been shifted from something dynamic and tarrying to something for pop adventure ie New Ceres was colour, not part of the fabric of the story.]

The reason for good worldbuilding and asking the right questions and understanding the answers is the reader. In an ideal book, they have enough clues to the world on enough levels so they are able to accept it and its implications and enjoy the book. So that there’s no “Well, it was OK, but something niggled.” Or so that they don’t have to race to check out “Could that really have happened.” It’s a trust thing.

Reader trust is built up with little clues and with the approach to the writing as much as it’s built up through getting ‘facts’ right. There are other ways of creating that trust than by using solid worldbulding, if your writerly soul can’t deal with solid worldbuilding. Read Alice and Wonderland again and you’ll see one approach. Most fiction, however, of any genre (including literary) has a consistent universe lying beneath it, reinforcing what it says and making it more convincing for the reader. The reader can immerse themselves in it for the duration. It’s one of the reasons I love reading – it takes me to other places and other times (tonight I might visit Alaska, tomorrow, Narnia).

Sometimes, it’s hard to convince writers of this, especially if they’re at the stage where they’re moving from short stories to novels. I don’t know why this is so. If the person was writing fiction set in a media tie-in universe, I would say “You know, making Darth Vader Luke’s son won’t work, don’t you?”

At the level of settings (and without making gratuitous Star Wars jokes), this sort of thing is harder to explain. Bringing the wrong approach to your world building questions can produce a high level of discomfort in a reader. A reader may not realise that the reason why they didn’t enjoy a New Ceres story as much as they ought was because the etiquette used was modern or that the sunlight had different effects in this story to all the other ones they’d read, but the feeling of “I just don’t like this story as much” still remains.

It’s even more complicated with Medieval settings. With any historical setting, in fact. New Ceres has solid world building behind it (you should see the files on my computer!), but, compared with actual human history it’s infinitesimal.

Think of how much we each lived yesterday. Think of all the humans in history having a full lifetime of yesterdays. Then think, if you’re writing about all those yesterdays, how do you choose what you need so that you can convince the reader everything is real, without convincing the reader they need a nap rather than finishing your book? I might choose the bit of my particular yesterday where the symptoms of cutting down cortisone hit because it was funky and funny. If I were writing it as fiction, I’d emphasise how jumpy I was and how exhausted and I’d tell it in such a way as to betray some of my secrets. I’d use it to bring a character to life, not as a straight description of a day.

Then there’s the matter of the notions of history we carry with us. I just discovered that a pop article I wrote on those notions (as applied to modern Arthurian fiction) has been put onto an undergraduate reading list in Germany. Not something I would have expected to happen, but it does highlight that finding out how we package our thoughts and how other people package their thoughts is terribly important.

If I want to use background to betray a character’s private longings and fears or to give a particular emphasis to an action scene (heighten the action, or enhance its significance, perhaps) then the shoddy “I’ll just add this to my story – I know what I’m doing” approach is just not a good idea. A writer might be strong enough to carry off a generally convincing story without that extra level of understanding, but they’re still undercutting their own taletelling on other levels.

A good writer takes a lot of care with words. They make sure that those words reflect the deep and precise meaning they need to convey and that those words link to other words and add to their meaning as well. Words are more than the sum of their parts: we all know this. World building, too, is more than the sum of its parts. This is all old hat.

I find it entirely fascinating that it’s possible to tell just how effectively a writer will use a world from the type of questions they ask subject experts. The type of question helps elucidate a universe that can underpin a whole novel – or undermine one. This, for me, is new hat.

Q & A On NaNoWri Mo

In which I interview myself on National Novel Writing Month (NaNoWriMo)

What are you doing National Novel Writing Month* this year, Deborah?
Cheering on my friends. I’ll be finishing up revisions on the next Darkover novel, Arilinn.  Revising is a very different process from drafting. I find that drafting goes better when I do it quickly, so I don’t get caught in second-guessing myself or editing as I write. Both are recipes for disaster and paralysis. Revising, on the other hand, does not reliably produce any measurable result in terms of pages or words. I dive into it and call it quits every day when my brain won’t function any longer.

How does NaNoWriMo compare to real writing?
Writing is writing! Every writer does it a little differently, and I think most of us change from project to project and also over the course of our careers. Challenges, whether novel-length or short-length, can be fun or oppressive, pointless, or a marvelous way to jump-start a new story.

Doesn’t it bother you when hundreds of thousands of people every year turn your career, the dream job you’ve worked at for 16 years, into some kind of game?
You say “game” as if it’s a bad thing. If some aspect of writing isn’t fun — and there are wonderful professional writers who hate to write but love to have written — then why do it? The community-building that happens during NaNoWriMo is one of its more attractive aspects. Writing is a solitary activity, so it’s wonderful to have those “hundreds of thousands” of compadres cheering you on.

Sorry. Do you think it’s possible to write a good novel in 30 days?
Yes and no. Some writers can produce a solid first draft in a month, so that’s the yes part. On the other hand, I’m skeptical of any first draft, no matter how long it takes, being “a good novel.” I suppose some writers do so much planning and so much reflection on each sentence that their first drafts-on-paper are really third-drafts-in-the-mind. In the end, though, the goal is not to produce a good novel but to write quickly and and consistently and to push through to the end.

Isn’t the emphasis on quantity over quality a bad thing, teaching participants to write crap?
Most writers don’t need to be taught how to write crap. We do that very nicely all on our own, thank you. However, writing challenges can teach us to get the story down on paper (or phosphors), which is a necessary first step to a polished final draft. The rewards of actually finishing a novel draft, no matter how much revision it will need, should not be underestimated. Even if that novel is indeed crap, it is finished — the writer now knows that he or she is capable of completing it. That in itself is worth celebrating.

Another thought on crap. If you aren’t writing it and you never have, you aren’t doing your job. You aren’t taking chances or pushing edges or just splatting out what’s in the back of your semi-conscious mind. You are allowing your inner critic to silence your creative spirit.

Eric Rosenfield says NaNoWriMo’s whole attitude is “repugnant, and pollutes the world with volumes upon volumes of one-off novels by people who don’t really care about novel writing.
I seriously doubt that what is wrong with this world is the surfeit of aspiring novelists. And I can’t imagine why anyone would put herself through NaNoWriMo if she didn’t ‘care about novel writing.’ Good grief, if you want to be irate about Bad Things In The World, there are plenty of issues out there, things that actually impact people’s health, liberty, and lives. Too many one-off novels is not one of them.

Well, what about Keith DeCandido’s post, wherein he says NaNoWriMo has nothing to do with storytelling; it teaches professionalism and deadlines, and the importance of butt in chair?
Can storytelling be taught? I’m not sure. Yep to the other parts.

Fine, what do you think NaNoWriMo is about?
Why is it about anything than a community of people hell-bent on crash’n’burning their way through a short novel in a month? That makes more sense than it being a nefarious conspiracy.

Any last words of advice, Ms. Very Important Author?
I’d love there to be a parallel track for those of us who have other deadlines, such as revisions or finishing in-progress novels. Certainly FiMyDaNo (Finish My Damned Novel) fits the bill, and I encourage anyone in mid-draft to jump in. Revisions, at least mine, mean taking notes, cogitating, making flow charts of structure, correcting maps, ripping out chunks and shoving them around, not to mention generating piles of new prose. These all count. The thing with revisions is that sometimes a lot of thinking and a small amount of actual wordage change — if it’s the right change — counts for a solid day’s work. It’s exhausting, too. So maybe the goal is, “I will think about my revisions every day this month.” 


Okay, Ms. Interviewer, if you’re not doing NaNoWriMo, what are your goals for this month?

*November 1 – November 30

National Novel Writing Month, also known as NaNoWriMo is a month-long creative writing challenge that takes place every November. During the month participants from all over the world are challenged to write a 50,000 word first draft of a novel.

Talks and ducks and coots and swans

I writing several talks this week. I didn’t used to write talks: I used to simply deliver them. Because of the health issues I have, though, I can’t guarantee that, on the day I give a talk or when the talk is recorded for later delivery (this latter is what happens this evening) I will be able to think effectively and to speak cogently. Most of the time, now, then, I write things down. So many people want to read it as a written word, too, that I often have a small audience (this month through Patreon) that wants to see what I say.

I have two pieces for finish today. One is an academic paper. My academic self is quite different to my fictional self when it comes to talks. The academic self is more intense and only sometimes includes bad jokes. The paper is about where the history comes from in Naomi Novik’s Spinning Silver and is for a conference in Melbourne on Monday. I need to complete the overheads today and to do that, I need to know what I’m going to say, so it’s wise to finish the whole paper.

I have written almost all of the paper (and it’s already in the hands of someone who won’t be at the conference on Monday, but who needs to see it). All I need to do today with it is finicky finishing and the Powerpoint presentation. Academic work always contains much finicky finishing.

To do these last bits, I read the written word aloud, over and over. Each time I read a sentence, I listen to discover it makes sense in its place and whether words need switching or the sentence needs moving or if the whole thing has to be crossed out and replaced with something more sensible.

This is why most of my academic papers relate closely to my current research. I used to deliver more entertaining papers, but then I realised that the closeness of the editing for a good paper advances my thought on the research. Often it’s subtle advancement, but it’s always useful. My papers are less fun, but way more useful.

After the conference, I’ll take the paper and compare it to the chapter it relates to and the chapter will suddenly make a lot more sense. Editing today, then, means editing next week and the week after. This is a good thing.

What about the talk? The talk is for Octocon, which is in Ireland over the weekend. On my Monday morning I will technically be in Ireland having delivered the talk and in Melbourne, delivering the paper, mere hours apart. This is why my talk is being pre-recorded. I will have pictures for the Octocon talk, and these I still have to find and put in order. Mostly, though, with the talk, I need to make it make sense for people who have not read the books I’m talking about (by Tolkien, by Australian writer Leife Shallcross, by Irish writer Peadar Ó Guilín, and by Naomi Novik), who haven’t studied the subject I’m talking about and who want a bit of lyricism or humour to entice them to keep listening. The subject is how space and boundaries are important to fantasy fiction. Right now there’s too much lyricism. It’s easy to wax lyrical about forests and rivers and borderlands. However, I don’t want the words to ripple and flow and to create an abstract design: I need them to make sense. I have 800 words to add, then the rest of this talk lies in the edits. More reading aloud. More making things make sense to people who don’t live in my brain.

At 10 pm tonight, I have a long meeting with someone in Montreal. She will walk me through the tech side of Octocon, sort out all the tech issues related to the talk, record the talk and… my day will finish early tomorrow. Tomorrow I have 2 meetings (one for work, one for fun) and need to finish the first draft of another talk. I have five conventions/conferences this month, only one face to face. I’m short on time because all this is as well as my research. It’s work I love, but it’s not paid, also, so other things have to happen to keep me in food and electricity. This fortnight those other things are my research (for which I have funding) and Patreon.

Also, if anyone thinks that chronic illness and disability disappear in weeks like this… they do not. This week is a very exciting juggling act. Furthermore, most of this work is not paid. It’s just part of the life of a writer. Each of us have different things we do. Because I’m partly an academic (mostly unemployed, but not entirely) and partly a writer, much of my life is spent explaining awesomely interesting subjects, but without the support of an academic salary. It’s not always terribly easy.

Welcome to the life of many writers. Some of us are ducks, some of us are coots, some of us are swans, but we all paddle madly just out of sight in order to stay afloat. Many of us (me, for example) battle significant everyday issues as well. Every book of ours you buy, every Patreon you support or Ko.Fi you buy, makes the paddling a little less frantic.