The Fairytale’s Truth

When I was a kid, I read Padraic Colum’s The King of Ireland’s Son, which was like listening to my older relatives telling stories and singing songs to us kids. For those who haven’t read it, it’s the story of the titular character but also side-stories taken from Irish tradition, story refrains, and bits of poetry.**

I absolutely loved the book. Parts made my hair stand up; parts made my heart soar.

Continue reading
Advertisement

Final Draft Begins

I had a terrible time writing in April.

By the time I returned from work, I had already reached the limit of screentime. My vision soon blurred. (Luckily, I never suffered a migraine.)

I resolved to print chapters and revise them by hand. However, some chapters weren’t the versions I remembered. A little searching revealed multiple files of some chapters. Every time I opened a file to revise it, I would THINK I was opening one on my flash drive. However, the accursed program – aka “Mightysoft Blerd” – saved a version to whatever cloud storage was available; e.g. OneDrive or Dropbox. It didn’t matter that I’d set the parameters to save elsewhere.

Today I printed three versions of Chapter One to make a final, handwritten version in a lined notebook. When I’m done, I’ll type it into a simple richtext document and upload a copy into Scrivener for formatting.

I’m hoping the low-tech process makes me more thoughtful about the revisions and less focused on wordcount (too long, I fear) and whether the plot points come at exactly the “right” place in the page count.

I don’t know how long it will take. I’ll update weekly.

Dialogue – a refresher

I’ll admit that I find the tag “said” rather boring. In Spanish, there are a lot more tags than in English, and I like them. “Added” and “replied” are my favorites. But there’s more to dialogue than tags.

I appreciated Linda S. Clare’s post about necessary elements. Check it out!

When a character speaks, readers need a few markers to orient themselves….

Writing: Dialogue Must-Haves — Linda S. Clare

Cursing, swearing, and hollering

Joe Bunting reposted about real-life dialogue traits and how to use them in fiction. I agree with most of them, except the following:

Some people are very sensitive to curse words, and I get it. But real people pepper curse words throughout their speech, and if you want to write realistically, you need to think seriously about interjecting an occasional D-word in your dialogue.

When I was a teenager, I read a lot of older books. You know what sounded really dated? Not then-current events, which were intriguingly retro. Not the plots, which were often exciting. The so-called “shocking” language, particularly when it seemed like every groovy character was losing his cool, baby. Can you dig it?

Authors who wrote that the character “cursed under his breath” sounded far more modern than those who used exact quotes. It wasn’t because I was sheltered; my childhood friends used terms that would scorch the ears of today’s casual f-bombers. It’s just that the characters were supposed to be tough and/or streetwise. Maybe back then, the salty language came across that way. But nowadays, those same phrases are used all the time by childish, undisciplined people. No one takes them as seriously.

The phrases like “she swore” and “he cursed” leave a lot more room for the reader’s imagination – or lack thereof.

What to do? What to NOT do?

Just popping in to say I’m still alive. But life has become a balancing act of what I’m willing/able to do with my time.

Work has become ridiculous. I had one of the best evaluations IN YEARS from an administrator who observed my class. However, I’m paying a terrible price to meet everyone’s expectations: unsustainable levels of time spent preparing, reading, editing, and conferencing with individual students and/or their parents. The thankless part is creating “retake” forms of assignments and assessments for the same 8-12 students who often fail multiple times. (The easiest of multiple-choice quizzes reveal memorizing aka “knowing it by heart” is a lost art.)

On the writing side, I have rewritten the beginning of the novel three or four times in the last few months. Is it better than the pre-Covid version I sent to my Beta readers? It’s certainly LONGER. I’m considering hiring a professional editor to read the first chapter. But first, I will rewrite it ONCE MORE to include the transition between Favius’s and Argenta’s POVs. To be honest, I’m afraid the editor will hate Argenta because she’s a scaredy-cat in contrast to Favi’s boldness. The crisis occurs when boy-hero realizes how ignorant he is the world and his life depends on allying with Argenta.

I had to rework The Budget. The cost of everything – gasoline, groceries, and dining out – has risen. I packed more lunches when cafeteria prices rose to $5 (January), but I still indulged in Tim Hortons coffee and an apple fritter when running errands. Not anymore. I can still buy a bag of potatoes or apples for less than the price of take-out.

Luckily, La Casa de Tontería is no more expensive than usual to heat and light. The utility companies’ reports show it uses less energy than “efficient” homes in the neighborhood. I credit my love of wool socks and sweaters (“jumper” or “poolohvayr” – not sure how to spell the latter but that’s how it sounds to me in French).

End of 12 Weeks

Well, that was fairly productive, but the draft still looks pretty rough as far as transitions go. The worst sections date from when I was listening to a “writing coach” and following the rules of The Hero’s Journey.

The boy-protagonist is itching to answer the Call to Adventure; he’s dead if he doesn’t. The girl-protagonist is refusing the (mandatory) Call to School, erm, Adventure and casting her as boy-protagonist’s “mentor” had her monologuing. (Or traveloguing.)

12-Week Challenge: Oh, I give up!

This week, I wrote a paragraph. 150 words. I also removed 400 words from a chapter.

Then I realized that an altercation between girl-protagonist and the local bullies is probably too suggestive… of violence. While she’s wrestling with one bully, another begins prying up a cobblestone to smash her skull. This creates the tipping-point for boy-protagonist to intervene; he’d rather avoid fisticuffs with goblins.

Getting from there to the next plot-point…. well, it seems abrupt to me.

12-Week Challenge: 2021 Week Four

Week 4. Boy-protagonist got the wind knocked out of his sails. Girl-protagonist is going to leave home, which she dreaded, but not according to the plan of The Grown-ups. (It’s not capitalized in the book, but The Grown-ups are collectively her antagonist.)

In dialogue, Favius (aka boy-protagonist) revealed his ambition to Argenta (girl-protagonist). I tweaked Chapter 1 such that his goal is clearly stated without an “authorial voice” pronouncement.

An aside: During this do-it-myself 12-week course, self-pacing is a mixed bag. Nobody holds me accountable; therefore, a “deadline” is a moveable goal. On the other hand, I can jump ahead when I achieve my weekly goal.

12-Week Challenge: 2021 Week Four-ish

I’m supposed to be in Week Six, but Week Two became 1.5 and every subsequent rewritten chapter took longer than expected.

Partly, it was the mechanics of plot-and-phrasing.

Partly, it was my refusal to curtail my social life, including two “lost weekends” of the non-drunk variety: a funeral and a wedding. I also had the honor of being voted “Mrs. Mascot” by the Young Humans at The Young Human Factory. In addition to accompanying “Mr. Mascot” at the football game, I chaperoned the Homecoming Dance.

So now I’m in Week 4. Barely. The protagonists have yet to discover the situation is worse than they thought aka the Rude Awakening.

12-Week Challenge: Week One

This week’s focus was “Normal Life: As the protagonists know it.”

Ironically, real normal life went out the window. Storms knocked out electricity and the Internet from Wednesday evening to Thursday evening, followed by a power loss Saturday morning and brief black-outs Sunday.

To be blunt, I couldn’t access my novel, so I didn’t reach my goal.

The first two chapters are nearly perfect, including their titles: The Boy Who Wanted to Leave and The Girl Who Wanted to Stay. They set the pattern of switching points when the protagonists are separated.

The third chapter, which throws Favius into peril, is short and fast.

However, the fourth chapter is too long. I can distill Argenta’s actions into later dialogue, but it’s crucial to keep her interactions with key supporting characters. The reader needs to know them before Favius meets them – which is coming up.

Week Two: September 27

Inciting event for boy-protagonist. Meeting of protagonists. Inciting event for girl-character.