April 18, 2012 • No Comments
I long for the days when all I had to do about meals was show up. Don’t get me wrong, I love cooking and I’m good at it. I have shelves of recipe books. But organizing myself when I’m super-busy is at times more than I can manage. Then comes the, shall we say, less responsible food choices.
So call this a product review if you like. For me, it’s a sigh of relief.
I signed up for Groupon a while ago and got an online subscription deal to The Fresh 20. This company, run by a dietician, sends weekly menus, shopping lists, and recipes to your inbox. The menus are for five nightly meals (Mon-Fri) that use no more than twenty ingredients all told. There’s an hour of prep work for the week, but the nightly cooking takes about a half hour. For me, that means dishes are done by 7:30 so I can get writing.
The menus are designed to use up leftovers so you don’t have suspicious entities lurking in the crisper two weeks later. The ingredients are those in common use, so most grocery stores should have what is needed (and most of the listed staples I had anyway). Best of all, customers can choose plans for a traditional, vegetarian, or gluten-free diet.
My menus came on Friday, in time for weekend shopping, and so I trotted off to Thrifty’s to get my stuff. Week One, I seriously overbought. Helpful hint: these recipes are geared for a family of four, not one person. I ended up making about half the meals and eating a lot of leftovers that week. Good thing they were tasty.
The next run went much better, when I cut the amounts in half. Shopping went very quickly because the lists are grouped by department. Overall, my grocery bill was much lower, and I was able to squeeze lunches out of the leftovers. With take-out prices, that is a major savings all on its own. I’m pretty sure I’ve made back the cost of Fresh 20’s subscription already.
The end review? Definitely worth a try, so check out their web site for sample menus. There’s a three-month trial for $5/month.
I appreciate someone else doing the organization. It’s cheaper, faster, tasty and healthy. It’s not a weight-loss plan per se, but if you’re trying to cut crap out of your diet, this goes a long way. However, it’s flexible. I’ve swapped ingredients here and there and with five meals, not seven, there’s room for a night out or just some other dish you want to make.
Overall, the meal plans are helpful without being invasive. Now if only they’d do the dishes!
• 2 Comments
Once upon a time they used to torture people into confession by tying them down, putting a plank of wood over them, and then piling rocks on top until the victim was squished. I know, not a really attractive image, but a useful metaphor #1 for this discussion.
Metaphor #2: I had a really excellent story idea last night. It was still with me this morning, fluttering around like a colourful butterfly, bonking against my nose once in a while just to make sure I’m paying attention. Like most really good ideas, it is slowly coming into focus, showing more and more of its pretty patterns as I, all unwilling, try my best to ignore it.
Ignore it?? Why ever would I do that? Well, gentle reader, because I have absolutely no time to deal with it right now. Back to the guy under the rocks—or rather, me under my rocks. If I make it through to the end of June, I’m golden, but right now I have three impressive deadlines a few weeks apart. Completely doable, as long as I don’t drop any balls. What less convenient time for my muse to send a butterfly?
But that’s just the thing. The more pressure I’m under, the more I’m suffocating from workload, the more effectively my brain pops out excellent ideas. When I’m kicking back and watching the grass grow, I get nothing.
I’m not sure why it works this way. My theory is that new ideas are very delicate things and, like butterflies, not meant to be handled. If we try to pin them down too soon, they become specimens rather than living creatures. Therefore, the most logical thing for the muse to do is to send them along when I can’t mess with them.
Right now, all I can do is look and appreciate and wait till they grow up. Then, during the slow moments when I’m rock-free, they’ll be robust enough for me to coax to my hand without doing damage.
April 12, 2012 • No Comments
Duck love in a romantic setting. Took this photo last Thursday at VanDusen Botanical Gardens in Vancouver. The ducks are a little hard to see, but they were having a great time at the bottom of the waterfall. (you can see them if you click on the photo)
April 11, 2012 • 1 Comment
One of the odd parts of being an author is that sooner or later one has to do public speaking. Yes, take those engaged in the most introverted, ivory-tower occupation possible and shove them in front of a mic. Counter-intuitive? Oh, just a bit—but it turns out I had a great time!
Last week saw me visiting two libraries in the Fraser Valley Regional Library system : the Ladner Pioneer and White Rock branches. Both were lovely facilities with lovely librarians and well-appointed rooms for holding readings and lectures.
My assignment was to read a bit from one of my books (I picked Frostbound) and then give a short writing workshop. The total time allowed was just over an hour. I’ve done a handful of writing workshops over time, but this one was the best organized so far. I think the fact that I had to be very focused and brief helped me.
Things I learned:
• Think about how you’re going to read the dialogue in your story to differentiate the voices
• When computers go into sleep mode, they totally mess up your PowerPoint and need to be rebooted
• If you plan to sell books, bring a float
• Always bring an extension cord
Things I loved:
• People taking notes.
• People asking real questions about writing.
• Getting so excited by talking writing that I forget I’m talking in front of strangers
• The excuse to visit with friends.
April 5, 2012 • No Comments
In anticipation of the Easter weekend, it looks like spring arrived in the front yard!
April 4, 2012 • No Comments
Just about every protagonist in romance these days is supposed to be an alpha—and this often means a dominating male who prefers action to words and is never so happy as when there is a damsel to save. At his best, he’s a true knight in shining armor. At his worst, he’s a big swaggering guy who drinks the milk without replacing it, drags the girl off to his cave, and never lets anyone else use the remote.
But how do we draw an accurate portrait of an alpha in our books? We’ve all seen people trying to fill that role, with varying degrees of success. Which ones are the real deal?
There are leaders who are all about hoarding information and power like dragons, not trusting anyone to do anything themselves. That might be mistaken for alpha, but I think that’s not leading staff so much as keeping it like slightly dimwitted pets.
There are leaders who cheer loudly, have a lot of rah-rah sessions, and talk teamwork all the time. I’m okay with this as long as there is substance underneath the hype. However, I’m not sure real alphas need to work that hard to inspire loyalty.
Then are leaders who invite the opinions of their team, give them what they need, and then get out of the way so their trusted workers can do their thing. They understand the details of the work almost as well as the workers. They’ll step in if needed, but the measure of their success is if everyone gets to go home on time with the work done and minimal drama. They’re not necessarily flamboyant leaders, but they tend to attract the best talent.
In my opinion, the last example is the closest to a real alpha. They’re thoughtful about their decisions and confident once those are made. They put the team’s needs first and will defend them tooth and nail. They’ll often pick ambitious, almost impossible, projects because they know how to get excellence from their staff. They inspire trust, but largely because they give it.
It’s something to remember when creating an alpha character—they’re first and foremost hard workers and good decision-makers. They may or may not be the ones with the power suits and expensive cars, but they will have a lot of people looking up to them. Responsibility is their watchword, and they never delegate a task they wouldn’t do themselves. Rather than being a party animal, it’s tough to get them to stop pushing themselves and cut loose.
Boring? No, not when it’s time to make them fall in love. They may be all about trusting their hand-picked lieutenants to patrol a boundary or design a bridge, but the one type of control they never share (remote control notwithstanding) is self-control. Strip them of that, and their identity goes to pieces. And what tests self-control like a steamy romance?
April 3, 2012 • No Comments
Historical novels are all about the details, and there is nothing so easy to get wrong or bypass altogether as accessories of dress. Part of the problem is that things like shawls and reticules are not as abundantly “written up” in costuming books as entire dresses. Instead, they’re consigned to footnotes or collector’s catalogues where price at auction is more relevant than how they were worn. A shame, because how and when such items were used are an easy touchstone for the writer when getting into a character’s physical presence. Your heroine is going to feel very different wearing a knitted shawl versus a silk mantelette versus a foxfur stole.
Hence I was thrilled to find Ladies Vintage Accessories: Identification & Value Guide (Laree Johnson Bruton) at the library. I took it to my hairdressing appointment and nearly lost it to the staff, who loved the elegant hats and bags from the Forties and Fifties. The book focuses on the author’s collection, which dates from late Victorian and through the Twentieth Century with a lot of North American content. Many of the illustrations are from period advertising and give excellent social context for the accessories. If you’re writing Dieselpunk, there’s some nice pieces here.
My favourite tidbit from the book:
Glove length is measured by button lengths, which equals about one button per inch. The measure starts from the base of the thumb and goes up toward the elbow. Wrist-length gloves are one-button gloves. Eight buttons are for a deep gauntlet. Twelve get you to the elbow. Sixteen buttons are over the elbow and up the arm.
March 28, 2012 • 2 Comments
Oh, joy, it’s teaching time again! How do you take what I’ve learned over decades and boil it down into a half-hour presentation? That’s the hard part of preparing a workshop for beginning writers. I’m not saying that I know everything, or even a lot, but I have been at this for a while and I’ve picked up a fair bit of information about how to write well. Whether I follow it or not is a topic for another day.
However … I have to come up with something for next week. I’ll be reading at the Ladner Pioneer (April 3) and White Rock (April 4) libraries at around 7:00 pm, so come on out if you’re in the area.
So what can I say? I may as well start with a few tidbits I wish I’d had under my belt at the beginning. This would be tidbit number one.
As I see it, if you’re going to sit down and write your first book, just go for it. However, it’s a bit like hiking. If you take along a bit of equipment, you’ll enjoy the experience a whole lot more.
The fact that you’ve got some nugget of inspiration is a given, or you wouldn’t be edging up the keyboard with that glint your eye. I’m not going to talk about inspiration, because it’s unique and precious and it can never be wrong. My only advice here is to hold it tight.
However, there are a couple of things to check into at the same time that you’re writing. Note that I say at the same time and not instead of. Lots of times it’s more fun to talk about writing than to actually do it. Bad author, no cookie. Your first job as a writer is to set a schedule and to actually put words on paper. The rest, including laundry and your day job and maintaining healthy relationships with your friends and family, is secondary to that, at least when you’re on deadline.
So when you’re not writing your pages for the day, think about this: How important is it to you to get published with a conventional publisher? Are you writing for yourself and maybe a few friends? Are you writing for the self-published market? All of these are legitimate goals, but keep in mind that the wider an audience you’d like for your work, the more attention you’ll need to pay to the publishing marketplace and how it works. An author actively pursuing commercial success—whether they’re self-published or writing for a big New York house—has to do a lot of thinking about where their book fits with current trends. That’s not to say it has to be exactly on trend, but you should know what makes your baby the same as or different from everyone else’s baby. Once you know where you fit in among all the genres and sub-genres, you can decide whether or not you’re happy with that choice.
Unfortunately, I can’t tell you whether it’s you’ll be more commercially successful if you are original or stick to a tried and true formula. I can say that traditional publishing is usually more comfortable with something they know has appealed to book buyers in the past.
So, it’s never too early to start looking around at what other writers are doing to appeal to the kind of reader you want. Find writers whose work is kinda sorta like what you want to do. They are a great jumping-off point for your research. As well as reading their books, you can go look at their web sites, read magazines like Publishers Weekly or Romantic Times, and get involved with discussion groups on places like Goodreads. When you go to pitch your book to an editor or agent, one of the first questions they’ll ask is, “Who do you write like?” This is how you start getting ready for that moment.
Because, trust me, if you keep at it and do your homework, that pitch appointment will come.
March 27, 2012 • No Comments
It’s research Tuesday! Yup, today I had to confront my complete lack of science cred when dealing with the WIP. Not only am I dealing with science, but nineteenth century science—and physics to boot, which I never took in school. We got to choose between Biology, Chemistry, and Physics. I picked the first two and did very well, but never dealt with catapults or nerf balls or whatever it was the hard core science guys did.
Ergo, I am confronted with the fact that I know an object dropped from a height goes splat, but am ignorant of the rate of splattage—or, more precisely, how to calculate it. Research to the rescue!
Sir Isaac Newton came up with three physical laws relating to the forces acting on a body and the motion that causes.
First law: The velocity of a body remains constant unless an external force acts on the body (witness a cat sleeping in your chair).
Second law: There is an equation: F = ma. The acceleration (a) of a body is parallel and in proportion to force (F) and inversely proportional to mass (m). This could also be written very loosely as aka splat = mass x speed. And there is probably a reason I shouldn’t write it that way, but that’s how I can get my head around it.
Third law: Action and reaction between two bodies are equal and opposite (smush!)
And that, kiddies, is our lesson for today!
March 25, 2012 • 2 Comments
Here’s a method I came up with for remembering the key elements to good plotting:
CONFLICT – gotta have it.
What is conflict? The collision of opposing goals. The more central and personal to the characters, the better. It’s what puts the romance in the romance novel, the thrill in the thriller. How successful a book is depends on how invested the reader becomes in the resolution of that conflict.
External conflict is the easily visible action of the book: the murder mystery, the runaway train, the farmer and the cattleman fighting over the same plot of land. The higher the stakes, the more exciting the conflict. This is why so many thrillers seem to involve mass destruction.
Internal conflict is equally if not more important. What do the protagonists have to overcome within themselves in order to resolve the external conflict? This is the EMOTIONAL driver of the story. This is what makes us care about the characters and want to see them win. Do the farmer and the cattleman have to come to terms with their feelings surrounding the death of their father before they can stop fighting over the family acres? Does the heroine have to come to grips with her feelings of inadequacy before accepting the love of the hero? Does the detective have to forgive himself before he can seek justice for someone else?
Ever read a book that should have been good but you just didn’t care? Internal conflict was probably missing.
RESPONSE – Make sure your characters respond appropriately. Snarky and flippant can be funny, but have them in the right places. Make sure responses are emotional, described in a visceral way. It’s far more interesting to say: “Tears ached behind her eyes” than “she thought she might cry.”
INITIATIVE – Make sure your characters drive the action rather than just react to it. You can really see this in the way female roles have changed in popular fiction over the years– we look for a Buffy, not a girl who will stand on the sidelines and let the hero save the day. She’ll want to work together to kill the zombies.
A character’s decisions are an important part of the plotline and tell us a lot about their strengths and weaknesses. For example, Frodo accepts the challenge to take the ring to Mordor, even though no one really expects him to. His decision directs the next steps in the story and, just as important, makes the reader want to cheer him on.
STAKES – Keep rising throughout the book. Make the protagonist and the villain have to commit more and more in order to achieve his/her goal. The police detective may start out with a routine crime scene, where the stakes are significant but fairly localized. By the end, his soulmate is tied to a bomb about to blow up all of Manhattan and the villain is poised to release bubonic plague in a worldwide shipment of baby formula. Each chapter of the book ratchets up the consequences of failure.
PLOT – A big topic, but the basics include a beginning, middle and end. If we have conflict, response, initiatives, and high stakes, the rest will write itself with a little tweaking.
YIKES! – hooks to keep the page turning. Every chapter ending and beginning should have a question or teaser that propels the reader forward.
If you look at the first letter of each word, you get CRISPY. And that’s what we all want, right? A fresh, tasty plot!