Deep Breath

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Actually, I'm busy writing mine this week. *wink*

How about you--what 'cha working on?

*WAVES*

Make You Mark

In ALL OF YOU, my New Adult contemporary romance releasing in September, Avery falls for a virgin tattoo artist, named Bennett.

One of his tattoos is of a poem that is significant to him and ends up becoming symbolic of their romantic journey together.

So searching for tattoo ideas was pretty cool. Because I wish I had the courage to get something really meaningful inked on me.

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This article entitled, 50 Incredible Tattoos Inspired By Books, got me thinking about books I love and whether I'd ever consider getting a favorite line inked on me. Do you know what book the above image is from? Of course you do! ;-)


Do YOU have a tattoo? Tell me what it is!

See you next week!

What In The Heck Is New Adult?

Publisher's Marketplace included a brand new deal category.

My deal was listed under it, like this:

"New Adult"
Christina Lee's debut ALL OF YOU, a New Adult with a virgin hero, to Jesse Feldman at NAL, in a pre-empt, in a two-book deal, for publication in Fall 2013, by Sara Megibow of Nelson Literary Agency (World English). European translation: jenny@meyerlit.com Asian translation: amumm@nelsonagency.com


Prior to this, New Adult deals were listed elsewhere, like in Women's fiction or under Young Adult. Once Publisher's Marketplace made this distinction and people took notice, Twitter was abuzz with conversations about it. Some supportive, others not. Which didn't surprise me. Change is disconcerting and confusing. And leads to questions and misconceptions.

But the overriding question I heard on social media was: What exactly is New Adult?

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As an avid reader and writer of New Adult, I thought I'd throw in my two cents.

First, much like Young Adult, New Adult  has implied age parameters. New Adult protagonists are  roughly between the ages of 18-26.  Just like Young Adult used to be included under the Children's section until it was defined, New Adult could be classified separate from adult, chick lit, or romance.  There is wiggle room, however, which I will mention later. 

Second, the theme of New Adult would be: new found INDEPENDENCE. The protagonists have graduated high school and gone on to college. If not college, they've entered the workforce or some other form of higher education, maybe joined the military, and are attempting to make it on their own. They're experiencing life for the first time, without certain parental, social, or age restrictions. They are wondering what the heck they're going to do to make ends meet and how they're going to do that successfully. 

They're balancing all of this new found FREEDOM with sexuality, alcohol and drug experimentation, and adult peer groups (different than high school peer groups, but college has it's own set of peer pressures), and sometimes even marriage and pregnancy. These issues might be front and center in New Adult novels, and other times, they're in the background.

Third, New Adult novels are NOT ONLY Contemporary Romances. Romance is only one of the genres in this category. It just happens to be the most public and popular genre recently. Many talented New Adult authors paved the way by self-publishing and finding a very enthusiastic audience. The genre took off like wildfire--leading some of them to a big six publishing contract (Tammara Webber and Cora Carmack, for example) and/or status on bestseller lists.

But, there are other New Adult genres out there (paranormal, fantasy, historical, science fiction) that are popular and/or finding footing. The exciting thing is, there's room to grow these audiences.

So, New Adult is not sexed-up YA, erotic YA, or only about virgins and sexual escapades (there is plenty of sex in YA, already). There are different levels of sexual encounters you'll find in NA novels, from no sex to explicit sex, but this depends on the genre and/or themes inherent to the plot. I chose to write about a male virgin in my NA Contemp Romance, but there are other overarching themes.

Fourth, my New Adult novel, as well many others I've read, tend to be written in first person point of view (present or past tense). Much like young adult novels, this point of view makes the characters and the story line more accessible and personal. But I suspect this won't always be the case.

Fifth, just like in Young Adult, there is crossover, depending on the audience and subject matter. For example, HOPELESS by Colleen Hoover and CRASH by Nicole Williams, have protagonists in high school, but the books are considered New Adult by many. Much like SOMETHING LIKE NORMAL by Trish Doller and WHERE SHE WENT by Gayle Forman, have protagonists post high school, but they're considered upper YA.

It just happens, based on different factors. And there's nothing wrong with that. Except, people might get confused, which is why parameters help. Mostly, they help readers find the kind of books they want to read, and that's a good thing!


I love @DearAuthor's definition of NA:

My rambling has come to an end. ;-) HAVE A GOOD WEEK!

Splinter

"There is a crack in everything. 

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That's how the light gets in."
(Leonard Cohen)


As writers, we want to make sure our readers can see the gaps, the fractures, the holes.

 To infer on their own what may happen next or what might have been. 

To go on their own trip of discovery, awareness, unearthing, with your characters.


HAVE A GOOD WEEK!

Just Pretend

I saw them standing there pretending to be just friends, 

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when all the time in the world could not pry them apart.   -Brian Andreas

I'm writing a scene where two people are trying their damnedest not to look into each other's eyes, close the space between them, or brush skin against skin.

 It's all about showing the electric current in the air, the synapses firing between them, the hitching of breath, the biting of the lip.

 One of my favorite kinds of scenes to write. :-)

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When I first met her, I knew in a moment I would have to spend the next few days re-arranging my mind so there'd be room for her to stay. -Brian Andreas

HAVE A GREAT WEEK!

Secret Admirer

"To the girl at the table near the back of the library:

I almost asked you what was wrong the first time I saw you crying. Then I saw the book you were reading, and realized that you were crying because of it. And I was interested, because I’d never read anything that moved me that much.

I checked out the book you were reading, and guess what? I cried - just a little - too. That’s how it started. Every time I go to the library, you’re almost always there, usually with a completely new book. Sometimes you smile, or laugh out loud, or cry again, and when you do, I check out the book you’re reading.

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I wish you’d notice me, sitting a few tables away from you, reading the book you were reading a few days ago. I wish you’d smile at me. I don’t have the guts to talk to you. I’m afraid you won’t be anything at all like I imagine.

One of these days, I’ll work up the courage and ask you about what you’re reading. And maybe you’ll smile that gorgeous smile and tell me all about it, and then we’ll talk about all the books we've read. But until then, thank you for the book recommendations. I love them.

Love, 

The boy a few tables away from yours"

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(SOURCE- I've been obsessed with reading the letters on this site. If you have time, go check them out. So simple and sweet and powerful.)

I also love reading notes or texts or emails in books, passed between characters falling in love. There's something raw and honest reflected in them and I think they're a potent device to consider in our writing.


HAVE A GOOD WEEK!

Damaged Goods

"See, broken things always have a story, don't they?"

(from Summer Of The Gypsy Moths, by Sara Pennypacker)

****

Our main characters are always damaged is some way.
 And as writers, it's up to us to shape their story--to repair their wings, their hearts, their souls.
Grow and shift and change. FLY, SOAR, GLIDE.

So off I go with my scissors and tape and glue.

 HAVE A GOOD WEEK!

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SHOW Me The Money

Even with a few books under my belt, I still struggle with showing versus telling, especially in beginning drafts.

So I bought Show & Tell In A Nutshell by Jessica Bell. I'm a huge fan of books that show concrete examples. I like to see how something is done. And Jessica's entire book is just that--tons of examples.

Here's one example from the book:

My mother got drunk again last night and passed out on the sofa. She looks like a disgusting street bum and the house smells like vomit and cigarettes. (telling)


I watch a glob of drool vibrate in the corner of my mother’s mouth with every breath of air that struggles through her sticky cracked lips. Strands of stiff bleach-blonde hair, clumped together and matted below her ear, look petrified with dried vomit. Her fingers twitch. She has two black nails from when she jammed them in the hinge of the alcohol cabinet door. She groans. One eye opens. A vibrant crystal blue bordered with a yellowy, bloodshot white. (showing)


See the difference? If you want actual examples in a workbook type format, then this book is for you.

*******

Click to add me to Goodreads!

In Show & Tell in a Nutshell: Demonstrated Transitions from Telling to Showing you will find sixteen real scenes depicting a variety of situations, emotions, and characteristics which clearly demonstrate how to turn telling into showing. Dispersed throughout, and at the back of the book, are blank pages to take notes as you read. A few short writing prompts are also provided.

Not only is this pocket guide an excellent learning tool for aspiring writers, but it is a light, convenient, and easy solution to honing your craft no matter how broad your writing experience. Keep it in the side pocket of your school bag, throw it in your purse, or even carry it around in the pocket of your jeans or jacket, to enhance your skills, keep notes, and jot down story ideas, anywhere, anytime.

Purchase the paperback:
$4.40 on Amazon US
£3.99 on Amazon UK

Purchase the e-book:
$1.99 on Amazon US
£1.99 on Amazon UK
$1.99 on Kobo

About the Author:
The Australian-native contemporary fiction author and poet, Jessica Bell, also makes a living as an editor and writer for global ELT publishers (English Language Teaching), such as Pearson Education, HarperCollins, Macmillan Education, Education First and Cengage Learning.

She is the Co-Publishing Editor of Vine Leaves Literary Journal, and co-hosts the Homeric Writers’ Retreat & Workshop on the Greek Isle of Ithaca, with Chuck Sambuchino of Writer’s Digest.

For more information about Jessica Bell, please visit: 
Website
Blog
Twitter
Facebook

Downpour

As much as I love colorful leaves and perfect fall temps, when I'm deep in revision land, I prefer rainy days.

A wall of water obscuring my view. 

Dull. Muted. Gray.

A forced stillness.

 Permission to stay rooted to one spot.

A cocoon of  privacy. Mystery. Silence. 

To burrow under blankets of words.

 A warm cup in my hand.

Secrets spilling over and carried away in a river of passages.

Calm. Cozy. Refuge. 

WHO'S WITH ME?

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VERBose

"Do not say a little in many words but a great deal in a few."  
-Pythagoras

When I'm first laying down a draft, I ignore sentence structure and punctuation. So when I jump back into revisions, I've got my work cut out for me. And one thing I really zero in on is my verb usage.

 I attempt to rid the manuscript of as many "to be" verbs as I can (which translates to was and were for me in past tense) and highlight where my weak verbs are anchored by adverbs.

The idea is to use strong verbs, which chops down word count, makes me concise, and strengthens my sentences.

Here are some examples of weak verb/adverbs pairs that can be replaced by stronger verbs:

slowly pull: drag or lug

gently touch: graze or brush

strongly place: jut, slam or jab

hold tight: grasp or clutch

run silently: dart or dash

step quickly: sprint or dash

voice growing rough: husky or gruff

grabs gently: tugs or pulls (not as strong as yanks)

turn around slowly: twist, coil, twirl

furiously shakes: tremble, shudder, quake

quickly looks up: head snaps up

walk slowly: inch or labor

slowly lift: tug, tow, or heave

step quietly: tiptoe, sneak, or creep


You get the idea. 

Do you ever fall into this weak construction trap? Or are there others--aren't there always others? :-)

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YADA, Yada, yada

"What I try to do is write. I may write for two weeks ‘the cat sat on the mat, that is that, not a rat.’ And it might be just the most boring and awful stuff. But I try.



When I’m writing, I write. And then it’s as if the muse is convinced that I’m serious and says, 'Okay. Okay. I’ll come.'"

-Maya Angelou

******

Hmmm...

Day three of "Susie sells seashells by the seashore."

WHERE ARE YOU, MUSE?

Okay, I'll revise something, instead.

 *heh heh* Enjoy your week!

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RISK

And then the day came,
when the risk
to remain tight
in a bud



was more painful
than the risk
it took
to Blossom.
 -Anais Nin

We all know that taking risks is what makes us grow as human beings. It also becomes the pivotal point in our novels, when it's too painful for the protagonist to hold all of it inside, to hide their true selves.

 This is the moment where the reader is rooting for them to spread their wings and fly. So it's important not to rush it, to find the right words, to show the reader what they're thinking and how they've gotten to that point.

From a recent scene in my newest YA: And that’s when he knew. When he really knew. That he couldn’t pretend for one more day. One more minute. One more second. Without losing a piece of himself.


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Too Many Hands In The Pot

Sometimes it's not good to get too much advice, too many opinions.

It muddies the water.

When I was pregnant, I got (sometimes unsolicited) advice on everything from natural childbirth to breastfeeding to baby names. And no matter my final decision, I never pleased everyone. I  took the advice that resonated with me and left the rest. An exception might have been a warning that everyone told me to heed--that was something to pay close attention to.

It's the same with critiques of your manuscript, by betas or CP's. Too many critiques would mess with your mojo, let alone your brain. I think a good number is three, maybe even four. One to two might be too few, not enough diversity. Just depends.

Because what you need is enough of a difference of opinion to keep you on your toes and get you thinking. Enough to make you a stronger writer. One beta might focus really well on sentence structure, while another is good at story structure. Also, it helps to look for patterns, likes and dislikes in certain scenes, paragraphs, sentences.

Learn to listen, and not listen, suck it up and say enough is enough. It's your book, your writing, your baby. Stay true to yourself while learning to bend. Easy peasy, right? O_o

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Constructive Sentence Traps

As he stepped through the front door, he wondered if he was doing the right thing. OR: Stepping through the front door, he wondered if he was doing the right thing.

I still get caught in AS, ING construction traps, especially in first drafts. And then I hope to notice them myself or rely on my trusty CP's to point them out. :D

There is nothing wrong with either sentence per se, but they can definitely be written stronger. Both of these sentences take a bit of action and tuck it into a dependent clause, which weakens your writing. It makes the action seem once removed.

Instead: He stepped through the front door. Was he doing the right thing? Or: He stepped through the front door. He hoped against hope he was doing the right thing.

According to the book, SELF-EDITING FOR FICTION WRITERS, by Renni Brown and Dave King, moving away from those legitimate constructions will make your writing stronger and more sophisticated.

Here's another example the book uses:

Ripping off several large, dripping hunks of burrito, she pulled up a chair to the kitchen table and took a large bite (is all of that even possible to do, together?). As she chewed, she wondered who she was maddest at. Clark, she decided.

BETTER VERSION:

She pulled up a chair to the kitchen table and took a large bite of the burrito she'd found behind the milk and orange juice bottles (better details take the place of the weak construction). Who was she maddest at? Probably Clark.


Do you get caught in these traps?

The Sound Of Silence

Spiteful words can hurt your feelings, but silence breaks your heart.
(C.S. Lewis)

I'll admit, silence is a pet peeve of mine. And I don't mean the kind of  silence you crave or create yourself. Long walks, sitting down to write, snuggling with your child.

I mean the kind of silence meant to ignore or exclude. 

A friend or family member is angry, and instead of telling you why, they ignore you. A child wants to join a group, but the kids walk away. You try to engage in a conversation with someone on social media and they never respond.

It's the kind of power play that gets under my skin. And the silence can be so difficult to read, you invent your own reasons.

They must be too busy, didn't hear you, can't express their feelings, or are complete A-holes!

And this is when maturity and professionalism come in handy, so you don't jump to conclusions and make a complete fool of yourself. But this is tougher to manage for kids and teens--even adults can go to extreme measures to get someone's attention. All because silence can be MADDENING.

So in your writing, remember that sometimes the power of a scene exists between the dialog. In what remains unsaid. Silence can be so loud, so debilitating, so profound, that it screams to be heard.


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Turn, Turn, Turn

In SAVE THE CAT, Blake Snyder says: The plot doesn't just move ahead, it spins and intensifies as it goes. It's the difference between velocity (a constant speed) and acceleration (and increasing speed). 

In my critique notes from my CP last week, she wrote this, after a scene: What is the goal and conflict in this scene? Is he just trying to get through his shift at work?

*heh heh* Yeah, pretty much. :D

Sometimes I do this when I'm stuck. I just write, not really considering the protagonist's motivation in that particular scene, but still thinking it's helping the story along. Or, I figure it's moving the plot forward, but obviously, not quite enough.

Blake Snyder's rule: It's not enough for the plot to go forward, it must go forward faster, and with more complexity, to the climax.


Nose to the grindstone. Thinking cap, ON! 

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Outside Your Comfort Zone

You may have seen the stats that tell us there's an overwhelming majority of YA stories and covers, featuring white females. Kate's recent POST breaking down the percentages, is especially surprising (and then she got all famous for her charts, here).

And yeah, there's more to this equation--like publishing, gatekeepers, the reading public, and subjectivity--but I'm just focusing on the writing end.

I've written my share of middle class white stories. Because it's what I know. And when you're first learning how to write, you need a cushion of comfort through which to practice the mechanics.

But I have many more stories in me. And so do you.

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 I love writing from the male point of view. It didn't come easy at first, but now, smoother sailing. My newest YA features a gay male teen. And another that I'm outlining features a black male teen. But that's writing what I know, too. I have gay friends and family members. I was a social worker and special education teacher for fifteen years, working with kids and families from many different cultures.

So, I KNOW. And you know, too. You have experiences you can draw on. To make the YA experience more diverse. So teens of all backgrounds can find themselves in our books. 

And even if you don't know, there are basic human needs that we all share. Belonging, fear, love, respect, vulnerability. Research like heck and ask questions. If the worry is that you can't pull off the voice or the story, there are plenty of betas and CP's to check us. And I bet you'd surprise yourself.

(Transcendence book/cover)

So, if you've been tinkering with one diverse idea or another, I encourage you to leave your comfort zone, too. Even if it's a side character or a super secret practice book. Do it. You'll feel richer for it.

Let's change the tide. Let's create a tidal wave of diversity.

WORD.

"I know nothing in the world that has as much power as a word.

Sometimes I write one, and I look at it, until it begins to shine."

Emily Dickinson

************

Words. They have authority and influence. 


To motivate and encourage, devastate or heal.


And in books they leave me breathless---a sheer force of beauty. 


They possess the strength to transport me to another world or time or place.

I think of the best sentences I've read and cannot imagine them any other way. They would merely lose their impact.

TAKE FOR EXAMPLE, a simple sentence from the book, THE SKY IS EVERYWHERE.


Jandy Nelson could have written it this way: My heart beats wildly again, ready to burst through my chest.


Instead, she wrote it this way: The flower is blooming again in my chest, this time three seconds from bud to showstopper.


Or a sentence from THE NEAR WITCH.


Victoria Schwab could have said it this way: The wind gusts in the dark night, the windows shuddering and squeaking. 


Instead, she wrote: Outside, the night is still and streaked with silver threads of light, and the wind is breathing against the glass, a wobbling hum that causes the old wooden frame to groan.


See what I mean? MAGIC!


YOUR words--the way you write them--are unlike any others. So choose them carefully. Make them yours. Make them SHINE.


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The Crow Flies At Midnight

I've written about symbols of HOPE before, but how about symbols of DOOM?

And the raven, never flitting, still is sitting, still is sitting, 

On the pallid bust of Pallas just above my chamber door; 

And his eyes have all the seeming of a demon's that is dreaming, 

And the lamp-light o'er him streaming throws his shadow on the floor; 

And my soul from out that shadow that lies floating on the floor, 

Shall be lifted - nevermore.

(Edgar Allan Poe)

The Game of Thrones uses ravens and wolves to create tension and mystery.

In The Lord Of The Rings, Ringwraiths inspired panic and fear much like the Dementors in Harry Potter did.

But the symbol doesn't have to be an object or creature. It could use any of the five senses. In one of my novels, I use a certain sound as well as a point of light in the woods, to hopefully create a sense of foreboding.

The idea is to craft an atmosphere of intrigue, impending trouble or tragedy. It's not necessary, but certainly can ramp up the tension in your novel.

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Make The Bad Guy BADDER

In SAVE THE CAT, Blake Snyder says: If your HERO seems average, unheroic, insignificant, boring, maybe it's the ANTAGONIST that's the problem. So make the bad guy BADDER! 

Sometimes we want our hero to win so badly that we don't make it impossible for him to do so. We don't up the ante or have him take larger risks. Making the bad guy badder automatically makes the hero BIGGER!

But here's what I would add (if I may, Mr. Snyder): Make both of them more complex and therefore, more compelling! It's obvious that the reader needs to feel something for the protagonist, so we spend loads of writing time making sure that the reader cares.

But what if the reader feels conflicted--just a little--for the antagonist, too? Moments of compassion or understanding or insight.

Take Klaus, in THE VAMPIRE DIARIES:

He is one BAD dude. But wait a minute--what's this softer side he shows around Caroline? Why does Klaus suddenly look cuter, sexier, more appealing? *bow chicka wow wow*


Or how about Lady's Maid O'Brien, in DOWNTON ABBEY?

Behind the scenes she's self-serving, mean, and vindictive. But in season one (that's as far as I got, so no spoilers from season two, please), she shows a conscience and a certain helplessness during the soap/bathtub/baby scene with Lady Cora.

And last but not least, Cersei Lannister in GAME OF THRONES.

I mean, let's face it, there are so many villains in this book/television series it's hard to choose just one. But from the beginning she's compelled me.

Vicious in her own right as the Queen Dowager, she had a direct hand in who her evil son Joffrey has become on the throne (I find NO redeeming qualities in him yet). Still, she's quite vulnerable when it comes to love (no matter how masochistic it might be) and the well-being of her children.

Who would you add to this list?

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