slammerkinbabe: (!rain book (rain))
I'm doing NaNo, sort of. Would anyone like to be my NaNo buddy? I can have more than one.

When I say I am "sort of" doing NaNo, what I mean is this:

1, I am going to work on the Rain book every day.

2. I am not going to worry about whether or not I have 50,000 words done at the end of the month, because
a. 50,000 words is too short for a book written in my style (i.e., not ultra-concise), and
b. I don't generally measure the work I do in terms of word count, because I always edit as I go and trying to adhere to the NaNo philosophy of "throw it all on the page and dea lwith editing it later" wouldn't work for me at all. If I didn't edit as I went along I would look at my first draft and sob for days, because my raw material is really, really shitty. So some days my word count will go down and not up, but I will still have been working on the book.

3. Some days I may take notes instead of writing new material. Some days I may spend primarily doing research, and the only writing I will produce on those days will be notes on said research.

4. I may write chapters out of order, such that I will wind up with some disjointed material at the end of the month.

5. I am not the slightest bit interested in any NaNo rules that conflict with my own writing style or that try to manage my productivity in ways that I do not like.

6. But I am going to work on the Rain book every day, and I am going to produce new material most days, and I am going to set a goal of 1,000 words a day on every day that I spend writing, as opposed to researching or outlining. Also, I'm deciding right this second that on days when I research or outline, I have to spend a minimum of two hours doing those things, and that after the 15th I am not allowed to spend more than two days a week on research or outlines.

I'm pretty sure the guy who runs NaNo would tell me I'm not really doing NaNo at all, if I'm setting all these rules up that differ from the ones he set. If so, fine, I'm not really doing NaNo. I'm going to work hard on my new book all through November, though. And if anyone would like to be a writing buddy for me, that would be awesome.

I'm off to look for pictures of my characters that I can upload into Liquid Story Binder now. By the way, if you ask me what Liquid Story Binder is or why I use it, I will leave you a huge long comment that will read like a paid advertisement, but it won't be. Liquid Story Binder is really just that great, IMO.
slammerkinbabe: (julie/carol otp)
Hrm.

A.S. Byatt: "Basing a character on a real-life figure is an 'appropriation of [their] lives and privacy".

Of course, her saying this has nothing to do with the fact that her competitor for the Booker Prize, Hilary Mantel, wrote a historical novel about Thomas Cromwell.

Some thoughts, though:

fictional musings [now with extra uncalled-for defensiveness regarding real-person fiction! )
slammerkinbabe: (reading)
I like this meme. Even though I'm sure those of you who have read a number of my stories and going "you think THOSE are your biggest repeating mistakes? Oh, honey, let me tell you." I'm sure I'm oblivious to my real, what shall we call them, personal quirks. But it was fun to think about nevertheless, and I hope lots of my writerly friends steal this.

Ten Ways You Can Tell a Story Is Written By [livejournal.com profile] slammerkinbabe:

1. It has lesbians in it somewhere. This isn't a particularly good one, actually, because I may not tell you the lesbians are, in fact, lesbians. But I know who the lesbians are inside my own head, and I do not remember the last time I wrote a piece of fiction with no lesbians in it, no matter how fleeting their role.

2. The sentences are entirely too complex, with tons of semicolons, colons, and em-dashes.

3. One of the characters sounds exactly like me.

4. There are at least three metaphors that sound like the author was drunk when she conceived of them. One of them is likely an extended metaphor.

5. There is insufficient visual description, especially of the main characters in the book. Occasionally this gets broken when visual description is central to characterization, but characters' looks are not described unless the story cannot be told without said description.

6. Mental illness is a prominent theme, someone is probably in therapy, and it is highly likely that someone winds up in a psych ward at some point. There is also a high probability of a suicide attempt. Someone on the psych ward probably has an improbable affair with their roommate.

7. When and if the plot gets blocked, someone gets drunk and unblocks it by saying or doing something stupid and/or revealing.

8. Attention to researchy details seems to be good at a glance, but that is only because I only write about things that I have personally experienced. See also: #6, #3, #1.

9. If the characters have to eat something in the course of the book or story it is almost inevitably chicken over pasta.

10. There is a hot butch character somewhere in the book - someone that I would sleep with in real life. Even if there is no actual sex in the story, this is apparently necessary to maintain my own interest. (Oddly enough I think the Jane book broke this rule, but I'm back on it in the Beth book.)

With the exception of #10, I've been working really hard to keep most of this out of the Beth book. In particular, it was okay to let 1, 3, and 5 go in the Jane book, but I have got to make some major changes in writing the Beth book or it will be clear to me as well as everyone else that I am a one-trick pony. So I'm trying something different. Eek.

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