Painful History: Part II

A while back I blogged about how painful research is for me. But recently I stumbled onto a few novels (and an autobiography in diary form) based in Oxford and the Bodleian, and scouring them for relevant details will be far from painful. At first, after finding Hazel Holt's The Cruellest Month, I hesitated reading it, not wanting to be influenced by a previously published work. But knowing I would be learning much about the library and the time period in which the novel takes place, I dove in.

As it turns out, a character in Hazel Holt's novel dies in the Bodleian in a very similar way that one of my characters does. (After all, how many ways can a person die in the midst of stuffed bookstacks?) But it wasn't the method of death I gleaned from the book, it was the details of the underground passages, lifts, stairwells and rooms as the characters maneuvered through the library.

Another book I picked up this week is A Very Private Eye: An Autobiography in Diaries and Letters, by Barbara Pym (edited by Hazel Holt and Hilary Pym). The first part of the book takes place during Ms. Pym's time in Oxford (1932-1939). There are many scenes of her reading in the Bodleian and eyeing her longtime crush, Henry Harvey. I'm learning about the clothing they wore, punting on the Cherwell and sherry parties. There is even a quote which echoes a scene in my novel: "Wouldn't it be marvellous if you could give all your love letters to the Bodleian and then go and read them 30 years later!" Serendipity!

Reading through the diary over the weekend, my heart raced as I stumbled onto this entry, (which most fantasy writers--heck, most writers--will get a kick out of):

"10 October, 1933. An amusing lecture in the morning - Professor Tolkien on Beowulf." When I stayed at Exeter College, I was thrilled to learn that Tolkien's rooms were in the building next to mine. But reading Ms. Pym's words brought him back to life.

She also refers to the Bodleian as The Bodleiana. I've not heard this reference, but this might be the title I've been looking for.

I am anxiously waiting for the UPS truck to deliver the other Oxford-based novels I've ordered from Barnes & Noble:
Operation Pax, Michael Innes--The end scene takes place in the Bodleian stacks.
Jill, Philip Larkin
Death at the President's Lodging, J.I.M. Stewart

Lucky me! Pain has never been more fun.

Note to the editors: I've left the double "l" in Cruellest and marvellous to accurately depict the correct title of the book and the English spelling.

The Big Top

My perfect day: Write, read, spend time with my family, sleep. Oh, and if I can break away from the computer long enough, exercise. Mine is a job with many perks and, aside from the teeny-tiny detail of not getting paid for my work, it’s a dream career.

My actual day: Catch up on email, write, research, email, read, blog, shuffle paperwork, eat, email, exercise, carpool, read, cook (I use this term loosely!), avoid the laundry, check the mailbox, stare at the phone waiting for an agent to call (not really), hang out with my family, write, read, email; a real circus.

Like many writers, I love to read. It’s part of my job requirement; part of continuing to learn. I study books on the craft of writing and the how-to of getting published or agent-ed. But mostly, I read fiction—literary, women’s, sometimes mystery. I’m supposed to read in every genre to broaden my skill set, but time is so limited, I tend to read what I enjoy. I make exceptions for audio, because this is how I tackle those books either too cumbersome or dry to read the traditional way—primarily classics I never read in high school or college, and most British fiction (or any U.K. fiction for that matter), not because it’s cumbersome, but because I adore listening to the stories in the accents in which they are written.

I don’t know how to classify the last book I listened to: Water for Elephants, by Sara Gruen. Is it literary fiction? Possibly. Mainstream fiction? (In my opinion, a catch-all genre). Whatever it is, the book was published in 2006 but just hit my radar screen when one of my critique partners lent me the CDs. As I got deeper into the novel, I couldn’t wait to jump in the car to keep listening. Tollway, yes!

I’m not a skilled book reviewer, (the reviews on Amazon are fantastic and outline why it’s an amazing story), but in my opinion, from a writer’s perspective, the novel is brilliant. Every word, every scene, every character has a purpose. It has one of the most satisfying, perfectly crafted endings I’ve read and I never saw it coming. After I finished, my only comment was, “Of course.”

I will now buy the book to study each page. Donald Maass (Writing the Breakout Novel) was shouting in my ear as I read, “Keep throwing your characters in bad situations.” Over and over he said, “You might think it can’t get any worse than this. But it can.”

In Water for Elephants, the characters were all faced with tremendous conflict, and we cared about them, from page 1. Extenuating circumstances always stood in Jacob’s way when he was about to get the one thing he wanted so much. He couldn’t go for it, because someone close to him would be hurt. Over and over, he was pushed into terrible situations. He couldn’t act on understandable revenge, until a very cruel thing, masterfully set up earlier in the book, happened. And then, revenge was taken care of for him in a most unlikely, yet completely satisfying, way. Not since reading the Poisonwood Bible have I felt this strongly about the way a novel was written and crafted. A slight warning: it was gritty and crude and sometimes portrayed animals in heartbreaking situations, but it all had to be there. Tension on every page (hell, in every paragraph). And not a contrived word in the book. Impressive.

This novel was over the top in a good way—over the Big Top.

Update

I spent the weekend at the DFWWW Writers' Conference and am now sufficiently motivated to finish The Bodley Boys. Once one hears Candace Havens speak, one cannot possibly say "I do not have enough time to write." Finish and revise by March 31st. Those are my goals and by committing to them here, I'm hoping my friends and critique partners will hold me accountable.

On another note, a member of the Writers' Guild of Texas has asked me to pass this on. As writers, we need to support each other. I saw the blurb on his book and it looks fascinating. I will buy it.


Hi all,
I was asked to post on this site a way you can help. I have selfpublished a novel through iUniverse called The Samson Effect. It haswon their Editor's Choice, Publisher's Choice, and their Reader'sChoice honors. I was also able to get Clive Cussler (New York bestselling author with over 100 million books in print) to read mymanuscript and provide a cover quote for it. I am also working with amajor Hollywood film producer to turn the book into a movie.Here is where I need your help. The national booksellers at Barnes andNoble have decided to place The Samson Effect in their high profilestore at US 75 and Northwest Hwy this Tuesday for a test run of 2months. The book will be displayed on their New Paperback table at thefront of the store. If the book does well there, they will considerlaunching it nationwide.You don't know how much I would appreciate it of you could pick up acopy there. Also, please pass the word to your friends and family wholove to read. You can bring books to our meeting for me to sign foryourself or friends who purchase them. This can make a unique gift foremployees, friends, or family.Okay, thanks for indulging my pitch. I just really need your help totake advantage of this rare and short lived opportunity. The book willbe available Next Tuesday, Feb. 26th. If you get there and the book isnot on display, that's a good thing. It means it's sold out. Just askBN to order you a copy. The more request like that, the more likelythey will order larger stock.Here is the info about the store and the book:Barnes & NobleLincoln Park7700 West Northwest Hwy. Ste. 300Dallas, TX 75225214-739-1124The Samson EffectTony EldridgeISBN: 9780595451722Thanks in advance for any support you can give me.Tony Eldridge

To Blog or Not to Blog

Lately I've been feeling as though blogging is chipping away at my novel writing time. I like to share my thoughts on writing and appreciate the 13 listeners (it's a DC radio joke) who visit often, but I've got to finish my WIP.

Today I read Maria Zannini's blog linking to Josephine Damian's blog. JD went to one of Donald Maass' workshops on his Writing the Breakout Novel (one of the best how-to books/workbooks I've read). Donald Maass strongly believes (read Part 1 & 2 on Maria's link to see how strongly!) that it's what's in the novel that matters, not what's in your blog (or if you blog).

Reading and writing blogs is time consuming. Useful information all, but precious minutes must be scheduled in the writing-time budget. Otherwise, the novel writing will not get done. And since my goals are to 1. Write a damn good novel 2. Get it published, I will be blogging less and writing more.

I appreciate your interest in my blog and hope you will check back from time to time. I will post noteworthy writing topics and updates on my own journey.

The Call - False Alarm

Last night around 6pm my phone rang. I don't usually pick up the phone, especially if I don't recognize the number. It's always a salesperson or charitable organization. If someone really needs to talk to me, he or she will leave a message. However, this time it was the 212 area code (what writer waiting for an agent call doesn't know that one?!) My heart pounded. Could it be?

"Hello," I said.
"Is this Joan Mora?" a distinctly New York-accented voice asked.
"Yes, this is she." (Note the proper grammar.)

Oh my God. It's the one. It's the agent currently reading my full manuscript. SHE WANTS ME, SHE REALLY WANTS ME! (Who doesn't love Sally Field?)

In the space of a second, my life had changed. This was it. I was going to hang up with her and call my husband, my critique partners, my close friends...

"I'm calling about your New York Magazine subscription. It's arriving promptly and you're happy with the service?"

Huh? After I stopped dancing, I told her, yes, the magazine is fine. In fact, better than fine. See, a few weeks ago I went online to cancel the subscription. I couldn't read the magazine anymore because the perfume inserts were so strong, I had to open windows to air the house. Whenever it arrived in the mailbox, I'd toss it right into the trash. But the website offered a box to check: Send me perfume-free copies. Seriously! I checked it and from then on, the issues have been scentless.

This phone call reminded me of an incident which occurred twenty years ago. When trying to buy a Honda, I asked the car salesman to call me if he got in an Accord with the features I was looking for. His response: "If the phone doesn't ring, it'll be me."

And there you have it.

Nightmare or Dream?

A writer's process of identifying and querying agents can be a nightmare. Once you start the search, you might find yourself in a loop of night terrors. Here's a handy reference guide to help you interpret some of the most common reoccuring nightmares:

Stuck in quicksand—You’ve spent six hours researching agents online or in Jeff Herman’s book and now have a list of thirty to narrow down.

Naked in public—You’ve mailed a query and the first chapter to the perfect agent and she thinks the writing’s so bad she’s passing it around the office or using it as an example in a "don't do this" workshop.

Pushed off a cliff—You’ve scheduled a face-to-face agent pitch at a conference and she’s asked for your manuscript but you can tell by her expression it’s only because she wants you to leave.

Bad guy is attacking you—You’ve opened a really mean rejection letter.

Driving up a steep mountain and falling backward (car and all)—An agent requested the full, you waited two months for the phone to ring and then received a rejection. If your car landed top up and you live, the agent complimented your writing.

Negative? Who, moi? Not really. I’m just trying to keep my sense of humor. I’ve received nothing but kind treatment from the agents to whom I’ve pitched or queried. And I know, one of these days the phone will ring.

What's your nightmare?

Thoughts on Gestures

Writers: How often do your conversations between characters include gestures? In order to avoid “talking heads” as one of my critique partners likes to call it, you must offer a visual of characters’ movements.

I’ve been so consumed with mastering this writing technique, I’ve found myself play-acting while reading other books. If a character tilts her head or rolls her eyes, I mimic these gestures (in my head if I’m not alone!). Try darting your eyes back and forth; it’s a sure path to a headache.

In addition, arms and legs have to be where they’re supposed to be. If your character is holding a baby in one arm and flipping pancakes with the other, she can’t scratch her head. Plus, she’d have to stop and wash her hands and that would require juggling the baby and the spatula.

Recently, I read an interesting piece of advice: Less emphasis on gestures, more on thoughts.

However, be very sparse with this technique, writing too many thoughts of your characters (or extended segments of thoughts) significantly slows the story. The more effective, and subtle, method would be to use a combination: He sat across from her, willing himself not to touch the toe of his shoe to hers. Okay, not brilliant, but you get the point.

In my WIP, I switch POV between the main characters by using “scene” breaks. Last night a critique partner pointed out this technique is confusing, especially since I don't change scenes, merely POV. I felt the reader should know each character’s thoughts, especially since men and woman often view situations differently. I believe it reads better this way, but because it’s a WIP—and I value this critique partner’s advice—I’ll consider changing it.

Better advice: Stop worrying so much about the “rules” and tell a good story. Sounds simple, right?