September 18, 2008

Like "Re-Warming a Cold Souffle."

I'm always highly skeptical about these endeavors wherein a writer attempts to take over another's characters and play in his/her sandbox.

Full disclosure: I have, though, been reading the new "Lord Peter Wimsey" mysteries by Jill Paton Walsh. No, they are not Dorothy L. Sayers, because Walsh is too busy being respectful of Sayers' legacy to really do the swashbuckling, experimental kind of writing that Sayers felt free to perform with her own characters.

But Walsh knows the Wimseys in and out, and she's clearly read the short story "Talboys" often enough to have a clear idea how Wimsey's/Vane's home lives would evolve. And her Lord Peter/Harriet Vane books are fun.

Walsh is the glaring exception that proves the rule.


I have to go now: I'm working on a suspense novel about a serial killer whose victims all worked for Disney: in fact, they all (oddly enough) were involved in publishing "Winnie the Pooh" books that turned A.A. Milne's style and wit into mindless, unreadable, ponderous, preachy, children's-lit excrement. With the name "A.A. Milne" on the fucking cover of 'em. As "editor."

Treat the dead with respect; they cannot defend themselves.


Via Lair, who remarks:

Considering that every product of the Guide Milieu since the original radio series was incrementally worse, this one's going to be a rock-bottom ultrastinker.

And, like a sucker, I'll probably buy it.

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March 26, 2008

Fictional Dialogue from Camp Lefty

[Around 12:43, if you were wondering. I'm getting tired of annotating these entries. Maybe next time I'll just retroactively post them at times that correlate to their actual composition. Alternately, I'll begin to limit myself to blogging about interesting things, rather than my rich interior life.

Just kidding.]

"I just got a few things," I tell my husband. "And they were cheap. Like, I got this pen that will fit in my pocket, and a sudoku book so I can start doing sudoko and my mind won't ever really age."

"Don't give me that look," I warn him. "I'm right about this; I'm always right about things like this."


This particular character [ahem] happens to be right about most things. I know, because I made her that way.

There is, to be honest, a sort of rush in playing God this way. The downside is that my characters all rebel against me, sooner or later. I hear I'm not the only one.

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March 17, 2008

An Extraordinary Piece of Fiction

. . . about truth, fidelity, and betrayal, by a friend of mine. If you leave a commet, please keep it clean—and respectful.

It's quite a story.

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January 19, 2008

How to Write a Novel

. . . in two months; Jeff VanderMeer tells all.

Via Tom Nissley and Insty, who both point out that VanderMeer continued to blog during that high-productivity crunch. Personally, I find blogging to be so different from "real writing" that I rarely experience a conflict between the two.

Of course, I can also read after a day of writing, which my husband cannot: he's more likely to watch television. (Now he will tell you that I never spend the entire day writing, but that isn't true. I'm always writing. I'm just not necessarily getting it all down on paper. There's a distinction to be drawn there. Fruthermore, I can read to unwind after a day of proofreading, even while my eyes and my upper back ache from hunching over the same copy all day long, scouring eight-point type for boo-boos. I suspect this makes me a reprobate written-word-junkie, but I don't want to discuss it.)

What I cannot do when I'm infected with a piece of fiction is read much fiction, unless it's a short story here or there, or a quick re-read of something I've already read. If I'm fully immersed in my own world I have little desire to enter someone else's, so it has to be politics, pop culture, historical nonsense, theology, or philosophical whatnot. Something without a narrative arc, if you please.

Anyway, it's pretty fascinating stuff. It almost makes me want to print my work out and . . . send it around. Almost. But next thing you know, I'd be getting paid for it. That would make me feel dirty.

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November 06, 2007

Hm.

Crab Orchard Review is accepting work through the end of the month that focuses on the experience of adolescence. There's a piece I should submit, if I can remember for sure that they haven't already rejected it. I know they turned one of my stories/essays down, but I can't recall which it was, and I have a sneaking suspicion that I went all ADD and mis-filed the rejection letter.

Of course, if I re-submit the one they rejected, they'll know I'm persistent. That I care. That I'm a space cadette.

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September 03, 2007

In Point of Fact, I Am Here.

I am alive and well. It just so happens that I got waylaid by the following projects: 1) catching up on sleep; 2) fulfilling family obligations; 3) dealing with business overhead; 4) catching up on sleep, again; 5) reading an Ellery Queen mystery about a serial killer loose in New York City during a heat wave in the late 1940s.

The point to remember is that detective fiction is strangely analogous to humor: just as the comic must deal in material that is as funny and uncomfortable and painful as possible—without actually drawing metaphorical or literal blood—so the crime writer must come up with a solution to the puzzle that, upon reflection, must appear to have been staring the reader in the face the whole time. In both instances, one must play footsie with a very fine line.

That is why one man's wit is another man's hostility; there is an element of the subjective to the whole enterprise.

I am, as a mystery reader, pretty cooperative: I try not to actively solve the puzzle unless I feel I've got no choice. (Some books practically beg one to get out a piece of paper and start listing clues, but these are normally of the poorest quality, and barely worth finishing at all.)

I want to be fooled. Yet if at all possible, I want to be fooled only slightly. If it's the least bit feasible, I'd like to guess the final mystery one page before it's revealed in the text, yet before such knowledge would spoil the surprise. It is just as one pulls off that wrapping paper that The Truth should knock one over: "of course!"

"Hide it in plain sight." It's easy to say, but almost impossible to do.


I finished reading the mystery by the Queen cousins, and resolved to close the gaps on the L.A. and Phoenix puzzles I'm creating, once and for all.

I decide to get all "twelve step" on my husband, regarding the creative process. "I don't have to create the perfect psycho for this particular book," I explain to him, rather earnestly. "I just have to create the best psycho I can today."


The mystery writer is, at the very same time, the most moral and the most amoral of creatures. There is no resolving this one; we can only craft the best books possible, and keep them scrupulously free of talking pets. At that point, our missions are fulfilled, and the editors, critics and readers take over.

Keep in mind, though, that more readers one acquires, the less one has to care what the critics and editors say. At a certain point, one can even bring back the talking pets, and all is well. What are the critics going to do, after all?—argue with one's bank balance? "It's slop, that financial security," they will say.

"I don't care for the dreck that she put in her IRA," they will complain.

"The quality of her beach home? Strictly second rate," they'll sniff.

I, of course, won't care at all. I'll just install a swimming pool for my husband, and buy another car.

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May 21, 2007

The Dutchman

. . . is letting others see his fiction! Very cool.

I really dug his faux reviews.

It reminds me of a story about David Linden, from when we were in high school: he used to draw these cool cartoons he called "mugwumps," and eventually (was he in college by then?) sent them off to several publishing houses. He got no takers (which is a shame, especially since he stopped drawing mugwumps soon thereafter), but his cover letter was apparently so witty that one publisher asked if he'd be interested in writing a collection of funny cover letters for (non-existent) literary submissions.

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April 28, 2007

"Yeah, I Know," I Say. "Too Dialogue-Heavy."

"No, this section is fine," Bridget tells me. "But we need to know more about these people before we find the body."

"I can do that," I reply.

"Um, what do these people do for a living?" Maria pipes up. "I mean, they seem to spend a lot of time drinking coffee and finding corpses."

"Well," I answer, slowly, "I could give them jobs, of course. But that might cut into the time they have for solving crimes."

"If you want them to be independently wealthy, there are ways to accomplish that," Fred points out.

"Hell, no. I don't want them to sustain that kind of damage," I respond. "Fine. I'll get 'em jobs."

These stupid people in writer's group and their un-fucking-reasonable demands . . .

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April 12, 2007

Writers' Group Night Again.

I announce that I'm working on a new mystery, and I've given myself two months to complete the initial manuscript, so I can spend most of June polishing it.

Everyone is thrilled—and even more so when the hear the first scene, in which our intrepid hero and heroine (sort of) discover the body of the victim.

"Wow. This one really moves along," remarks one of the other writers. "And the people are must less sarcastic with each other than in your other book."

"Well, they're less sarcastic because they are married to each other," I explain. "It isn't in their best interests to draw blood every time they speak. And the story is actually moving along because I decided that there was no time to go for literary merit."

Someone else chimes in: "is there any way that this time you could give them some sort of excuse for solving mysteries? I mean, could they have specialized knowledge of medicine, or be private investigators, or something like that?"

"No," I reply. "They solve murders for the same reason Nora and Nick did it. The same reason Tommy and Tuppence did it. They just do it because it's fun. Either the reader buys in, or he/she doesn't.

"That said, I promise you'll like them. They are very likeable people."

"Great," says our teacher. "Now go home, put these copies away, and don't read our notes just yet. Just keep typing out that first draft."

I suppose I ought to shut down my blog for the next six weeks, but let's see if I can get by without taking that sort of extreme measure.

Naturally, Marvelous Mike starts a list for me of golden-age mysteries set in the non-Los Angeles southwest. He tells me he's going to email it to me later in the week.

"Take your time," I respond. "I'm on a diet right now, anyway, for obvious reasons."

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April 05, 2007

On the One Hand

. . . I'm making my page quota on the "Mystery in Arizona" manuscript.

On the other hand, I'm running around the house in my bathrobe all day and taking lots of naps.

I need to catch up on laundry, answer a few phone calls, and get out to the grocery store. You know: life stuff.

The thing about this project is, it can only help me, even if the ms. is returned unread by the Hillerman Competition. If I've got two manuscripts on hand, I can shop them around more effectively: it'll give me some detachment about the fate of any one given story.

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April 04, 2007

Yeah.

When in doubt, blame it on the White Mountain Apaches.

My story is shaping up nicely. I'm letting you know because I assume you're almost as obsessed with me as I am.

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Yes. I Made Quota Today.

One page of outline. One page of typed text. Three pages of handwritten notes.

And so I'm going to bed. There will be more creepy things to write about in the morning.

But I know who was killed. And why. I just haven't decided how.

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April 03, 2007

Well, Then.

If there isn't any salt in it, why do they call it the "Salt River"? It sounds like it's fresh water, and related to the canals in the area. I like that, but I want two different types of water bodies (with different effects on decaying human flesh, of course—sorry to be gross, and all that).

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On the Other Hand, It Is Feasible.

I'd need to produce 3-5 pages a day.

A the H informs me that he'd be happy to switch our anniversary vacation destination from La Jolla to Arizona. (Sorry, Desert Cat: the timeline doesn't permit me to set the story in Tucson. I have to draw on my existing knowledge base of the Phoenix area in order to get this one done on time. So the main location will be one of the Fenix suburbs. I still want to introduce some small-town color, though, and I'm taking nominations for that. I want an excuse to really get some bitchin' landscape into the plot.

BTW, feel free to tell me what you know about the hydrology of Scottsdale/Phoenix: which bodies of water are natural, and which are man-made? Isn't one of them a salt-water river? Why?)

I think I know who my protagonists are. I just have to whip up a crime, and I'll be practically done.

Gotta go: time for a nap. (Seriously: I need to get my unconscious mind to work, here.)

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Regarding the Hillerman Mystery Contest

I think it's important to point out that Southern California is in the Southwestern United States. Would someone please send a map to the people at St. Martin's Press? (And what do you mean, L.A. isn't underrepresented in the genre?)

Hm. I wonder if I could quickly re-write Ye Olde Mystery so it takes place in Tempe, Arizona rather than Santa Monica, California.

So: "She could feel the sea air over her skin" becomes "she could smell the scent of the cactus as she drifted off to sleep." The problem being that cacti don't have much of a smell.

Or: "She checked for slugs in the grass as she walked across the yard" becomes "she saw a lizard dart over the gravel ahead of her."

Or: "the air got misty" becomes "it rained hard and was freezing cold and why is the weather so extreme in the freaking desert, anyway?"

Easy shmeasy.

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March 31, 2007

I Am in Love.

I have finally encountered someone over the internet who is so malevolent, so vile and so reprehensible that I simply must make this person into an antagonist.

And not in a book, either: I'm too eager to symbolically crush this person under my size fives.

No one else is wicked enough for me. Those who perpetrate genocide bore me. Serial killers are passe. Child molesters? Whatever. Everyone's doing them.

I've found heart's one true my villain, and I intend to be faithful to him. For at least two weeks, or about 20 double-spaced pages.

If I could physically find him, I'd send him a locket or something.

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March 25, 2007

I'm Learning from the Queen Bois.

Um. Make that Queen Boyz: the cousins who wrote the original Ellery Queen series.

As I work through the list Marvelous Mike sent my of their best puzzles, the engineering side of my brain is, indeed, beginning to kick into high gear.

I realize that on my own project I may be overdoing the Real Clues: I'm only required to give the pertinent information on the real killer once or twice. After that, it's up to the reader to figure it out. If they're like me, they won't want to. (I'm reminded of what my former roommate, the mathematician, used to say: "she's too smart to figure things out that she doesn't want to know." That's a blessing/curse of human nature.)

Of course, the best puzzles are the ones in which the Main Reveal leaves the reader smacking herself on the head, exclaiming, "it was in front of me all along; why didn't I see it?"

That's what I'm aiming for. I'm terrified, however, that the maze will be too easy—that the solution will appear obvious all along, rather than in retrospect. One always runs that risk, of course, if one is playing by the rules. The main rule is the reader gets a shot at solving the puzzle himself/herself.

My mother informs me helpfully that she doesn't really mind if she's reading a mystery and she figures it out. That isn't the level I want to play at, though.

The workshop meets again this coming Thursday night: I need to flesh out my final conflict and take it in. Enough of the procrastination. I have to send the ship out—my draft—and see if it can stay afloat. If not, I'm sure I have a great career ahead of my as a Starbucks barista or something. Or I can stick with my glamorous proofreading endeavors.

There is a moment in any high-wire act wherein one has to take a deep breath, let go of the handle, and reach out for something that may or may not be there.

I am at that point.

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March 10, 2007

The "Joy's Next Short Story" Contest

Yes, yes: finishing the novel. Really, I am. But there's a reading party later on this month, and I hate reading chapter snippets at those events.

Please provide me with a subject around which I can fashion a mini-short story. Optimum page count would be five pages, double-spaced, so I need a fast little story arc.

Please provide me with a theme, an image, or a premise. And, yes: there are sometimes children at these events. "Dark" is okay, but it should be transmutable into PG-13 material.

Thank you.

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February 11, 2007

Getting Paid For It

I want to send a short story in to an electronic magazine, but I'm not sure I want to let it go yet. I'm not sure it's "finished."

And, of course, I'm afraid I'll fall afoul of the rules against selling babies or body organs or freshly killed game or one's writing or one's body.

I do not want to do the wrong thing, you know.

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December 26, 2006

Crais Rawks.

I should read the rest of his books; they're very witty.

Maybe too witty.

The dimwits in my writers' groups would say that I have a competitive vibe going with "Mr. Repartee-Bloodbath."

But they'd be flattering me.

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