Writing Inspired by Play

At writer's conferences we're often reminded that butt-in-chair just may be the elusive secret to success, and that's absolutely true.  We also know that after the Nano high wears off and the euphoria of typing The End fades away, there will be months upon months of revisions followed by months upon months of work spent querying, submitting, and/or working to get that manuscript published.  Only to repeat all those months and months over again, with that manuscript, and possibly (probably?) tearfully setting it aside in order to plow into more months of rejections and elbow grease on a new manuscript.  And I really hate to say it, but most of that will not be fun.  Or even fair.

So, can writing be fun?  Is it playful?  Well, obviously not all of it!  Not unless you've got some really crazy definition of fun, and also like paper cuts, blistering sunburns, and seeing small dead animals on the road.

But writing can (and maybe should) owe inspiration to fun, and even in the query woes and at that stage of revision where burning is too good for your book, writing can enjoy the sparkly edge of play.  I'm talking about those moments when you're walking down the street and suddenly your writer sense (which everyone knows is second only to a spidey sense) goes crazy.  You've just seen something preposterous, or maybe tiny and dear, and it's sparked all kind of shiny writing ideas.  Woot for sparklies!

Or maybe you're going about your serious day in your serious life, and someone surprises you.  Or you surprise yourself.  And it's not the bad kind of surprise, like waking up to the sound of your child vomiting all over their bedroom...when you have to catch a plane at 5am and just got to sleep...but rather, it's the good kind of surprise.  Like, when you've been trudging through a dreary day of rain and more rain, and suddenly the sun pulls up a corner of the grey sky and shines out, splashing a rainbow over everything!  Or, you're watching a parade and you see...

a grown man, walking on stilts, pretending that he's floating in an inner tube down a river...in the middle of the street.  Do you see the look on his face?  The way his smile seems to reach every corner of his being?  That's play.  And I think we all need it, but especially creative people.

We need it because without it, the well into which we dip can run dry.  And our oasis shrivels, and we find ourselves trying to build sand castles without any water to make the sand pack, or paint an image of a vibrant, mysterious jungle with nothing but one wilted leaf.

Finding play can be tricky.  Children help. So do animals, and people that smile at us.  But in the end it's about ourselves, our souls, and if we recognize the inspiration and power in play.  If we can step back from the daily grind of butt in chair and elbow grease to appreciate that sunlight bursting in, and the hilarious things a kid will say when woken by vomit at 5am.  Because play is all around us, once we've opened our eyes to see it.

Cherish it, embrace it, and let the laughter come.

Tell, me, what inspires your writing?  What makes you smile?  I would love to hear your thoughts!

Interview: Kersten Hamilton author of IN THE FORESTS OF THE NIGHT

Today the amazing Kersten Hamilton has stopped by to answer a few questions. We’re going to be discussing IN THE FOREST OF THE NIGHT (the second book in her Goblin Wars series), writing complex stories, second novels, sexual tension, Shakespeare and more!

Please feel free to leave questions and comments for Kersten. She’ll be checking back through out the day to answer them—and she is an amazing source of wisdom

Pat: Welcome, Kersten. Before we get going, could you please give a quick overview of the Goblin Wars series, in particularly IN THE FORESTS OF THE NIGHT.

Kersten: The Goblin Wars is the story of Teagan Wylltson, whose family is an unlikely mix of Stormrider and the human blood of Myrddn Wyllt, the real Merlin the Magician, and Finn Mac Cumhaill, cursed by Fear Doirich, the Dark Man, to die young fighting Goblin Kind.

I really like the description my editor wrote for In the Forests of the Night:

Teagan, Finn, and Aiden have made it out of Mag Mell alive, but the Dark Man’s forces are hot on their heels. Back in Chicago, Tea’s goblin cousins show up at her school, sure she will come back to Mag Mell, as goblin blood is never passive once awoken. Soon she will belong to Fear Doirich and join them. In the meantime, they are happy to entertain themselves by trying to seduce, kidnap, or kill Tea’s family and friends. Tea knows she doesn’t have much time left, and she refuses to leave Finn or her family to be tortured and killed. A wild Stormrider, born to rule and reign, is growing stronger inside her. But as long as she can hold on, she’s still Teagan Wylltson, who plans to be a veterinarian and who heals the sick and hurting. The disease that’s destroying her—that’s destroying them all—has a name: Fear Doirich. And Teagan Wylltson is not going to let him win.

Pat: A lot of scenes in your novels are packed with characters and dialogue. It feels to the reader like they’ve stepped into a bustling family. Were you raised in a loud active family? And could you share some tips about writing scenes with multiple characters not only talking, but physically doing different things?

Kersten: I grew up with four of my seven siblings, and little or no parental supervision. My mom was out of the picture and my dad worked nights and slept days, so we rarely saw him. The usual state of affairs at our house was merry chaos. I grew accustomed to it and continued the tradition after I married—only with many, many more people. We (my husband and I) have always had an open home, where people could come if they needed a place to stay. Some people have lived with us for months, and some for years. The most we have ever had under our roof at one time was seventeen. So, yes. We are a loud and active family.

Pat: Was Shakespeare Irish? And what about his muses?

Kersten: Of course he was. Even if he was born in England. Of English parents. But the Irish muses gave up on him. Too much humor for a proper Irish story, and way to many happy endings! J

Pat: In addition the main fears and concerns, your stories have ever-present subtler worries (such as Mamieo’s heart problems). Were these details something you preplanned when developing the characters or is it something that emerged as you wrote?

Kersten: They definitely emerged as I wrote. ‘Meeting’ my characters is one of the things I love best about writing. They all have such complex, real lives! I really, really miss them when the book is over.

Pat: Second novels—any advice about writing them?

Kersten: Yes! Someone very brilliant (I don’t remember who) once said, “Nobody reads a book to get to the middle.” The second book of a trilogy fills that dreaded ‘middle’ of the story arc. The story had to be bigger without losing touch with the things people loved in the first book. You have to ramp up the stakes while moving the story forward. And remember to surprise your readers. On a very tight deadline.

Pat: The Greenman, Mab, Fear Doirich . . . Do you have a favorite non-human character or myth?

Kersten: Actually, yes!  I do have a favorite non-human character, one that I would  like to be. I’ll tell you if you promise not to laugh. I would like to be….A FAIRY GODMOTHER! (Stop laughing. You promised!)  No, it is not the poofy pink sparkly outfits that I adore. (I’d wear jeans and a t-shirt) Its what fairy godmothers do: they show up at a key point in someone’s life with the tools or opportunities the person needs to achieve their dreams. What could be better than that?

Pat: LOL. I can so see you as a fairy godmother. Okay, I mentioned in my review of IN THE FORESTS OF THE NIGHT that I was going to ask you a couple of questions related to sexual or romantic tension.  Here we go.

The budding romance between Finn and Teagen really sizzles. Is writing romantic tension a craft aspect you work on specifically or does it come naturally?

Kersten: Action and adventure come naturally to me. Romance I have to work at. And kissing scenes make me blush. Some of the most romantic scenes in these books have no kissing—but they still make me blush!

The way I work at it is by reading a lot of classic romances—Pride and Prejudice is one of the romances I study. First we meet the characters and are shown exactly why they do not like each other. And there are very good reasons for them not to get along. Then, slowly, we are allowed to see deeper into each of the characters as they change and become perfect for one another. Tension comes from the fact that we know what they will miss out on if they don’t come together.

I really like books such as The Grand Sophy by Georgette Heyer and the Amelia Peabody mysteries by Elizabeth Peters by as well.  They are masters of mischievous romance. And what is true romance without a little humor? I never did like Romeo and Juliet. Some of the funniest moments in my own books are also the most romantic.

Pat: Balancing the main plot and subplots in your stories must be difficult. When you revise, do you sometimes have to cut back on subplots to let your main plot shine through? Aka—how do you avoid having the romance take over the storyJ

Kersten: I think that you have to drop your characters into such a BIG story that the readers are always a little worried about what will happen next. A little on edge, even during the kissing scenes—because it all could be taken away in a single story heartbeat. And…there are always so many sub-plots in my own life that I guess they come naturally to me.

Pat: What one piece of advice would you give new authors on how to strengthen the romantic tension in their own works?

Kersten: Don’t move the physical relationship forward too fast, as if sex were relationship. Romantic tension is just another word for anticipation. Don’t lose the delicious relationship building and anticipation that comes with love.

Pat: One last question. Where did the title IN THE FORESTS OF THE NIGHT come from?

Kersten:  From William Blake’s poem:

The Tyger:

Tyger! Tyger! burning bright

In the forests of the night,

What immortal hand or eye

Could frame thy fearful symmetry?

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand dare seize the fire?

And what shoulder, and what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? and what dread feet?

What the hammer? what the chain?

In what furnace was thy brain?

What the anvil? what dread grasp

Dare its deadly terrors clasp?

When the stars threw down their spears,

And watered heaven with their tears,

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger! Tyger! burning bright

In the forests of the night,

What immortal hand or eye,

Dare frame thy fearful symmetry?

Pat: Oh, yeah. And I still think Ms. Skinner is one of the scariest characters.

Kersten: Ah, Ms. Skinner. Anyone with a heart will cry for her by the time the books are done. I promise.

Pat: Thank you so much Kersten. Will you be willing to stop back later and answer questions?

Kersten: I will be! Thanks for having me on your blog, Pat!

Pat: Here’s a link to my review of IN THE FORESTS OF THE NIGHT

http://patesden.livejournal.com/88580.html

Order TYGER, TYGER and IN THE FOREST OF THE  NIGHT  today from you local bookstore on check it out online:

http://www.amazon.com/Forests-Night-Goblin-Wars-Book/dp/0547435606

Online Writing Class Review and Recommendations

Over the years I’ve taken a lot of online writing classes and I highly recommend them. However it’s important for a writer to take classes that work with and, at the same time, challenge their skill level.

Here’s a quick overview of a few online writing classes which I’ve taken and my thoughts on who might most benefit from them.  This is only a small sampling of the classes available. All these writing sites have been established for quite a number of years.

1. Coffee House for Writers.  Classes for beginner to intermediate skill level. 2-day mini-workshops and longer 4 and 5-week workshops. Experienced teachers.  Good interaction with teachers. The amount of interaction with fellow students depends on the students themselves, can range to from none to moderate camaraderie. Great classes for writers who want to improve specific aspects of their writing or simply need a kick start. The variety of classes is somewhat limited, but fun.  http://www.coffeehouseforwriters.com/courses.html

2. Writers College. Classes for beginner to intermediate skill levels (some of the classes appear to be advanced, however they do not require as much experience as other classes I’ll mention later in this post).  4 to 6 week classes.  Interaction level with teachers is good, but can vary. Writers College has some amazing teachers who have been there a long time and others who are less experienced.  Student interaction depends on the students in the class, can range from none to moderate camaraderie. Great classes for writers looking focus on a specific topic. Writers College has a large selection of classes, some of which are quite unique. http://www.writerscollege.com/

3. Writing In Depth with Caleb Warnock. Classes for beginners to advanced skill level. Small groups, private 8-week classes. Moderate prices.  Interaction level between both students and teacher is high. Great classes for writers wanting to take the step from dreaming about writing to becoming a professional. Limited selection classes, with some flexibility.  Specialty classes sometimes available. This link has information on Caleb Warnock, his experience, success stories, upcoming classes and links to more information. http://calebwarnock.blogspot.com/p/forgotten-skills-of-self-sufficiency-of.html for an example of Caleb’s successful teaching style, listen to this 3-first-page-critique http://writingsnippets.wordpress.com/2011/07/25/ws-30-caleb-warnock-3-first-page-critique-part/

4. WriterUniv. Com. Classes for intermediate to advanced writers. These classes may be helpful for intermediate writers, but are best for those with pro-level skills.  2-4 week duration. Fast pace, challenging classes with lots of reading and homework. Experienced teachers. Student interaction is friendly, but minimal. Interaction with teacher is exceptional. Class topics are advanced and great for working on specific writing issues or for developing general skills. The amount a student gets out of these classes is directly related to the time put into reading the teachers comments on other students’ homework--and classes are large. Their website is a bit lacking, but the classes aren’t http://www.writeruniv.com/  For more information: http://www.marybuckham.com/Onlineclasses.html

Have you taken any online classes? Any recommends or problems? Any questions?

Dr. Seuss, Caterpiller Tanks and Writing From a Place of Wonder

I think it was Dr. Seuss who said, “Fantasy is a necessary ingredient in living, it’s a way of looking at life through the wrong end of the telescope.” I love that quote, and it sounds like Dr. Seuss. So what does it mean to look at life through the wrong end of the telescope? As a writer, I think it means more than just making something big, changing its color or making it small. I’ve done that–and love it–but simply super-sizing the critter or creature will only take the story so far. I like to play with the creature's purpose. Its sense of self. Take this guy*, for example:

He looks reasonably well-armored, so if I were to super-size him I’d make him a tank. In fact, I’m hoping I’ll have a tank just like him if there’s ever a sequel to 13 Demon Days. It seems like just the vehicle for a super-subversive mission into a demon world, don’t you think? And I believe this little white grub would be pretty happy with his new role as a tank, too. Maybe that’s what Dr. Seuss meant by fantasy being a part of living. That there’s more to seeing than just sizing a thing up and slapping on a label. There’s also the need to make a leap from our limited set of experiences to that of those creatures or things which brush elbows with our lives. And in doing so, the parameters of our understanding are pushed out a bit. Which is pretty fantastic, when you think about it!

*Thanks to Homeschooling Happy Honeybee for the found pic!

Review: The Last Dragon by Jane Yolen and illustrated by Rebecca Guay

I’m excited to have the honor of posting the first review on Cabinet of Curiosity. First, let me introduce myself. I’m Pat Esden. I’ve had short stories published in Orson Scott Card’s Intergalactic Medicine Show, George Scithers Cat Tales (Wildside Press), Challenging Destiny and Mythic Circle .  I’ve completed several young adult manuscripts and am currently seeking representation. But enough about me, let’s get on to the review.

Graphic novel review: THE LAST DRAGON written by Jane Yolen and illustrated by Rebecca Guay. Published by Dark Horse Comics

Blurb:

Master storyteller Jane Yolen (Owl Moon, Sword of the Rightful King) and celebrated fantasy artist Rebecca Guay (Swamp Thing, Magic: The Gathering) weave a textured and lyrical tale of adventure, homelands, and heroism the hard way.

Two hundred years ago, humans drove the dragons from the islands of May. Now, the last of the dragons rises to wreak havoc anew-with only a healer's daughter and a kite-flying would-be hero standing in its way.

MY THOUGHTS:

I requested an ARC of THE LAST DRAGON through NetGalley because of the author’s reputation and the cover illustration. I was hoping for a great dragon story with the feel of a traditional myth, but with new twists—and for illustrations which had a classic beauty.

I was not disappointed.

The story began with sepia toned art work and pages framed in a battered-brown. This combination created the appearance of an ancient book. It was so well done that, at one point, I thought if  I touched my computer screen I’d feel worn leather (much like the ancient books which are mentioned in the story). As I read on, I didn’t notice when the ancient-look gave way to a more conventional comic book form. What I did realize was that the illustrations varied from textured and beautifully detailed to more simplistic, in a rhythm which seamlessly matched the needs of the story.  Overall the illustrations were wonderful. They had an oriental flair and at the same time were reminiscent of the Golden Age of illustrations.

The written story was equally as wonderful. At first, some of the characters seemed like standard fairytale creations. But they didn’t always do what I expected or wanted them to do—which provided tension and made me read THE LAST DRAGON in one sitting.

The world building was extensive and never interfered with the story. Secondary characters and plot threads worked well and expanded the story to a point where I felt like I was experiencing an epic instead of a single graphic novel. There was humor and action, romance and adventure . . . Okay, it was just plain great. I recommend THE LAST DRAGON for anyone who loves fantasy, whether you’re a graphic novel fan or not. In fact, I’m planning on ordering copies as gifts for people who are not fantasy fans, but are art lovers. I’m quite sure they’ll love everything about it.

Publication date: September 21, 2011

Pre-Order Last Dragon (Hardcover) Now @ TFAW.com

If you’d like to  see examples of  Rebecca Guay’s stunning art work check out her website: http://www.rebeccaguay.com/

And here’ s a link to Jane Yolen’s website which has tons of information about how her stories can be used for teaching and interviews about writing for children and more: http://janeyolen.com/

Here’s a link to Dark Horse Comics if you’d like to check out their other comics and graphic novels : http://www.darkhorse.com/