Tag Archives: writing

#MondayBlogs: The Stigma of Writing Horror

23 Feb

Intro:

Monday brings us a new blog post by a new guest blogger.

Remember, if you want to guest blog, check out the information below this post, but be sure to read today’s post first! When author Alex Laybourne was asked why he chose to be a horror writer, he responded that horror chose him. Today, he is talking about the stigmas horror writers have to deal with in today’s market, but he goes much deeper than that, and his words are definitely worth the triumph in the end.

#MondayBlogs: The Stigma of Horror Writing

As a writer, I have found that there is a range of reactions that will come from that proclamation whenever anybody asks what I do. Sure, I have an office job, but I always respond with both of my jobs. Writing is, after all, a fulltime endeavour.

However, there is only one reaction that I get when people hear that I am a horror writer. It is usually accompanied by a slight step backwards, and they avert their gaze. Why? Well, I write horror. It must mean that I am about to try and murder them all for the sake of research. I mean, that is what I am, right? I am darkness. I must live in a basement where blood coats the walls and the screams of the damned are the lullaby upon which I drift off into the restful world of nightmares.

Blood of the Tainted ebook coverIn the modern world, writers are more and more approachable than ever, yet I still find that there is a stigma attached to being a horror writer. Maybe stigma is the wrong word, so let’s say that there is a certain level of expectation that comes with it.

To many people, horror is about blood, guts, and gore. What they know of horror is what they see in movies. Why is this? It is, in part, because people only think of slasher movies when they think of horror. Anything else seems to get the label of Psychological Thriller or some other titillating genre twist, which creates a feeling of expectant anticipation in the audience. Something that horror does not give.

Yet the truth behind it all is far different. We horror writers are no different than anybody else that puts ink to paper. We are no different than anybody else that goes to work in an office. Ok, our heads may be programmed in such a way that when we see certain things or hear certain snippets of a conversation we get ideas, but there are for plot and characters, rather than anything darker than that.

There is a very interesting wave of great horror writers out there at the moment, making waves in the indie scene and pushing the boundaries of genre to the limits and then some. I could throw around phrases like ‘ground breaking’ or ‘genre defining’ but I don’t wish to be labelled pretentious. All of these writers, these masters of the dark, are husbands or close to it. They are fathers and damned good ones. Hands on parents, too. They can be found watching cartoons or changing nappies (diapers) rather than hunching over Ouija boards, summoning the devil’s minions to help ensure their souls have the clean black gleam.

Sure, we write things that concern darkness, but what horror often gives, is hope. More often than not they are stories of triumph over adversity. Yes, we deal with the subjects that most people are afraid to think about. Yes, we take readers by the hand through nightmare worlds, but what we also do, is bring them out the other side. We help them face their fears; we allow readers, if only for a short time, to conquer their fears. Whether they do it by closing the book when it gets too much, or by reading it all in one sitting, they are standing up to what scares them, and not backing down.

The next time somebody tells you that they are a horror writer, remember that we slave just as hard over our words as the next Booker Prize nominee does. We have poured as much of ourselves into our work as any other author, and while it may never be a good idea to ask us what we are currently working on, never let the genre fool you. After all, it is nothing but a means by which bookstores can line their shelves. At the end of the day, genre means nothing.

I think it’s only fair that I end this with a quote from Stephen King.

“At parties, people usually approach the writer of horror fiction with a mixture of wonder and trepidation. … Most of us, you see, look and seem (and ARE) perfectly ordinary. We don’t drown houseguests in the bathtub, torture the children, or sacrifice the cat at midnight inside of a pentagram. There are no locked closets or screams from the cellar. Robert Bloch, author of Psycho, looks like a moderately successful used car salesman. Ray Bradbury bears an uncomfortable resemblance to Charles M. Shulz, creator of Peanuts.”

Me

Alex Laybourne

Bio:

Born and raised in the coastal English town Lowestoft, it should come as no surprise (to those that have the misfortune of knowing this place) that Alex Laybourne became a horror writer.

From an early age he attended schools which were at least 30 minutes’ drive away from his home, and so most of his free time was spent alone.

He claims to have been a writer as long as he can remember. With a wild and vivid imagination he finds it all too easy to just drift away into his own mind and explore the worlds he creates. It is a place where the conditions always seem to be just perfect for the cultivation of ideas, plots, scenes, characters and lines of dialogue

He is married and has four wonderful children; James, Logan, Ashleigh and Damon. His biggest dream for them is that they grow up, and spend their lives doing what makes them happy, whatever that is.

Links:

Blood of the Tainted (artwork by Richard van Ekeren)

Diaries of the Damned

Website

Want to be a guest blogger? I would love to have you on! I am accepting original posts that focus on reading and writing. A picture and a bio are encouraged. You do not have to be published. If you qualify, please email me at shannonathompson@aol.com.

~SAT

#MondayBlogs: Writing Relatable Teens

16 Feb

Intro:

What better way to start off the week than with a great guest post from YA author, Ava Bloomfield? Writing is a complicated journey, but with Ava’s help, everyone can create believable teen characters. Feel free to share your tips in the comments below!

Writing Relatable Teens

Nobody wants to grow up. We learned that in Peter Pan. So how does an adult write a relatable YA character? How does anyone write a relatable character?

It’s a subjective thing; we all know that. It’s impossible to wholly judge a character for their realism while we go about our particular lives, with our particular experiences, in our particular way. It fits that novel writing is such a personal process, in that context; our characters are born from us after all.

AvaSo what makes Charlie from The Perks of Being a Wallflower just as ‘relatable’ as, say, Bella Swan from Twilight?

Some argue those two aren’t remotely comparable. Some would say they’re too different; one is ‘deep’ and one is…well, Bella Swan. It’s all subjective anyway, so how do you guarantee you’ll write a Charlie and not a Bella?

The answer is simply that it depends on the journey, not the character itself. We can relate to almost anything if the underlying themes ring true to its audience.

While Charlie is coming of age, Bella is experience her first love. Or infatuation. Whatever you call it, there are inferences to be drawn. Just because Perks examines abuse and mental health issues doesn’t mean that Twilight’s love story is a vacuous waste of time by comparison. Didn’t Jane tell an unconventional love story with Mr Rochester in Jane Eyre?

Granted, Meyer doesn’t hold a candle to Charlotte Bronte.

But when we put the calibre of any particular writer aside, it’s easy to see that there’s room for any variation on topic. It’s how the writer weaves their message through a character that makes them believable, relatable.

Characters in YA aren’t just reflections of ourselves, or unfathomable things we just dreamed up one day. They’re extensions of ourselves. Teen characters are ghosts of our past, holding hands with today. In my experience, the whole process of writing about a young character is as familiar as it is daunting. We set out to write about a ‘real’ teenager, with battles to face, and through their development we thread together the fragments of our experience.

That ‘thread’ I’m talking about is a sensation that never leaves us. It’s the sensation of being on the cusp of adulthood, unprepared; plunged utterly defenseless into the wolf-pit that is the world. And it’s that thread that binds the YA writer with their characters and entwines them; it’s a natural occurrence. It’s necessary. It’s our link with our former selves, however near or far that is.

But therein lays the opportunity for disaster. By the logic of what I’ve just described, writing YA characters would be purely therapeutic. We’d confront our demons and wrap things up neatly in the end. We’d snuff out conflict in a way we never could in the real world, because we’ve walked that path before. And that’s not realistic at all.

Teen characters have to be monumental screw-ups in one fashion or another. They’re the lessons we wish we’d learned, failing all over again. There’s nothing palatable about success without sacrifice, is there? It’s as true for the protagonist as it is for the writer.

To write an authentic teenager, we give away the depths of what makes us who we are today. It’s not slaying the demon that wins the battle for any YA character; it’s the metamorphosis they experience on their journey. It’s the awareness that they aren’t the same person they were before.

And you, the writer, will have experienced it with them.

Charlie from Perks wasn’t the same come the end. Bella from Twilight wasn’t the same either. It’s all in the journey. It’s in the believability of their transformation.

The reader will experience that metamorphosis and evolve. The writer connects with its reader by way of character. Within that thread of experience, binding it all, is a common vein we share.

Isn’t that why we read YA, after all? It’s more than just an escape, and it’s certainly more than nostalgia. It’s a way of holding hands. It’s a way of saying, ‘I hear you’ that transcends any other medium.

Writing a relatable teen character is like shouting your deepest secrets into the void and waiting for them to echo back to you. Just know you’re not the only one listening out for it.

Bio:

Ava Bloomfield lives by the sea with her partner Matt and their Scottish Terrier, Sputnik. When she’s not busy with her day job as a transcriber, Ava can be found rummaging in charity shops for hidden treasure, mooching about in her local library, or writing her next novel.

Ava writes stand alone books about angsty teenagers. Check out: Honest, All Girls Cry, Leap and Beyond on Goodreads.

Ways of chumming up to Ava: TwitterBlog.

Alternatively, send her a psychic message over the cosmos. She’s not quite tuned into it yet, but she’s certain it’ll happen any day now.

Want to be a guest blogger? I would love to have you on! I am accepting original posts that focus on reading and writing. A picture and a bio are encouraged. If you qualify, please email me at shannonathompson@aol.com.

~SAT

#MondayBlogs: The Importance of Setting in a Novel

2 Feb

Intro:

Monday has reached us again, and today brings us another guest blogger. Today, I am pleased to announce Tara Mayoros, author of Broken Smiles. This well-traveled writer has written a wonderful post about the importance of setting in a novel, and her writing tips are sure to stay with us the next time we pick a location for our stories.

The Importance of Setting in a Novel 

Write what you know. How many times have I heard that? Oh man, probably at every conference I have ever gone to, multiple times.

know setting.

Long before I was ever an author, I would surround myself in settings which filled my soul with wonder. I would cover my limbs and face with autumn leaves to feel the smell. I would spend many nights under the stars, listening to the scurrying of little animals and the sounds of wind applauding my appreciation through the trees. The stillness would settle in my heart and when I began to bring pen and paper with me to different settings, my world became magical.

To me, setting should breathe like a character. It isn’t just streets, buildings, and names of towns — it is the lifeblood which weaves your characters and plot together. It shouldn’t be tacked in, but rather an integral part of the story. It grounds the reader.

It should also ground the author. The author carries the responsibility to bring details that are often overlooked. Especially, in my opinion, when it comes to nature.

Image-3

Pilot and Index Peak – Cooke City, Montana

Recently, I returned from a long trip through Montana and Yellowstone. I have visited many times and even lived there at one point. Those wild, rustic places are some of my favorite spots in the world and I felt the heavy burden to show my love for it in one of my novels. I hadn’t been up there for over a dozen years and I started creating the setting for my novel through memory. When I had finished my book, I was satisfied. But something tugged at me to visit those places again. Either my wild heart, or the pull to immerse myself in those mountains.

Arming myself with laptop, pens and journals, I was ready to take my story to battle and add details that were missing and change a few things. I was surprised when I came home and realized that I had never even written one word when I had surrounded myself in the nature I so dearly love. Why? It wasn’t a conscious decision by any means, but looking back, my body and soul yearned to feel the lifeblood of the setting. I didn’t need to muddle it with words, I needed to experience it and let the setting wash through me.

In this world where setting and placement are so often overlooked or replaced with handheld devices that capture our attention, authors need to work harder to ground the reader. We need to scream at our readers to notice detail. It breaks my heart every time I see someone surrounded by stunning scenery and their faces are aglow with the pale light of a handheld device.

Here are a few ways you can bring your setting to life in your novel, followed by some examples I have written.

*Be specific – it isn’t only a flower, describe the details. example: The vibrant purple petals stretched beneath an indigo hat which drooped over a white lip and a yellow bearded pouch.(Calypso Orchid)

*Sprinkle in similes and metaphors to connect – example: His temper was like a loose cannon. It could explode at any given time and I would be the set target.

*Use the senses; sight, sound, smell, taste, feel – This one is huge! I love to incorporate the senses. – example: My stomach was empty, which was good, because the smell hit me, and I heaved once more against the vacant remains of my belly. The putrid, decaying stench of rotten flesh made my eyes water.

*Show, don’t tell – instead of stating that its raining, describe the dripping trees, the puddles gathering in the crevices of rock, and the pattering on tin resembling tinkling bells.

Here is an excerpt from my novel contemporary clean romance Broken Smiles. The setting is in China, another one of my favorite places. I hope you can feel my love for it as you read my words.

Here and there rocks were covered with ancient moss. Orchids blossomed spontaneously upon the trees. Vines hung like ropes and twine, twisting upon the rubber and the banyan trees. Bamboo stood proudly against the moonlight, casting shadows that had been the same for thousands of years. Away from big city lights and pollution, it was easy to be transported back in time to ancient China. This land had managed to remain untouched throughout the different emperors and dynasties. As they walked, they passed a small ancient graveyard built against the hillside. The limestone shrines glowed mysteriously in the moonlight. Chinese characters and mini-sculptures were carved in the pale rock. Incense smoldered on the top of an old gravestone…

Thanks for stopping by –

Tara Mayoros

Bio:

As a child, Tara Mayoros moved to Asia with her family where her love of different cultures and travel began. In college she satisfied her wanderlust by moving back to China, filling her head with countless stories, and occasionally writing them down.

Years, marriage, children and many adventures later, she picked up her dusty pen and paper (or laptop) and realized that writing took her to different worlds and gave her the experiences that she yearned for. As an author, artist, baker, music teacher, gardener, and nature lover – she sees the beauty in the process, and the miracle, of creation. The Rocky Mountains are her home and they call to her whenever she finds herself in need of inspiration.

Connect with her: Website, FacebookAmazon, Twitter.

Want to be a guest blogger? Wonderful! I am accepting guest posts that focus on reading and writing. You are allowed a book link in the post as well as in your bio. A picture and a bio are encouraged. If you qualify, please email me at shannonathompson@aol.com. I’ll look forward to hearing from you!

~SAT

#MondayBlogs: Inner Dragons

26 Jan

Intro:

Mondays are easily becoming one of my favorite days of the week – all because of the guest bloggers right here during #MondayBlogs! Today’s post is brought to you by one of my top commenters last year – Deby Fredericks – and she is writing about writers and their inner demons…or dragons. Check out her website and her books!

Inner Dragons

We writers often do battle against doubts, fears, writing blocks, etc. Call them inner dragons. If we aren’t careful, we can sabotage ourselves with negative self-talk.

One common inner dragon is the fiendish beast Comparison, which makes us treat writing like a competitive sport. Say you struggled for an hour to finish a single page, 250 measly words. Then on Facebook an author friend brags about their wonderful 2,500-word day. It’s too easy to compare word counts and decide you’re a slacker because you didn’t get as much done.

Or when your publisher is a small press and only pays royalties, you might hear publicity of another author’s six-figure deal. That can make you feel like a failure because your deal isn’t as rich.

Comparison depends on a backward definition of success. It wants you to focus on the end of the process while you’re still at the beginning. Every page you write is a battle. Life is so hectic, anything you complete is a victory. A single page, a stanza of a poem, a chapter of a novel — they all build to something larger.

One of my favorite writing quotes is from the late SF author, Jay Lake. “If you write one page every day, you will have completed a novel in a year.” Believe this, and go slay that dragon!

Air&FireAnother inner dragon we writers often battle is the dire monster, Futility. This dragon wants us to become obsessed with things we can’t control. This might mean editorial rejections, sales figures, negative reviews, or the length of time it takes an agent to answer your query.

Even worse, writers sometimes make New Year Resolutions based on things we can’t control. “Sell five short stories this year” is a perfect example. All of these are things we can’t control, but I have several friends who consistently work themselves into a tizzy, swear to quit writing, then apologize to everyone who got worried about them.

Let’s just be logical. We have no way of knowing, when we query or submit a story, how many other queries and submissions will arrive on the same day. We don’t know what else is going on in the editor’s or agent’s life. We have no way to know what past experiences readers bring that affect how our work appears to them.

A more productive approach is to focus on things that we can control. We can’t make purchasing decisions — but we can set a goal to write five stories and submit them. We can’t make readers buy our books — but if we self-publish, we can choose enticing covers and work our social networks to increase sales. We can’t make agents represent us — but we can gather data and present it in a way the agent may look upon favorably. To attract friendly reviews, we might give a few reviews ourselves.

To quote that one song, we just have to “let it go” on things that aren’t ours to decide, and do the rest just as well as we can.

Do you ever tell people about your writing? I hope so. You’ll have a hard time building an audience if you don’t. Even more important, do you tell people about your work in a way that slights or insults yourself? “Oh, it’s just a hobby of mine.” “I’m not very good at it.” “It’s a little poem/song/story I write. Really bad, isn’t it?”

If any of these phrases sound familiar, you’re a victim of the evil dragon Self-Minimization.

I often hear writers minimize themselves. Sometimes men, but more often women. Our culture has this thing where we teach men to stand up and speak for themselves while women are taught to sit down and be quiet. But, as writers, we simply can’t afford to sit quietly.

Naturally, everyone has moments of doubt. The competition is intense and rejection hurts. Minimizing ourselves can be a way to deflect pain. It can also be a chain that holds us back. If your spouse said to you, “Why are you wasting your time with this?” you’d be pretty upset. You’d defend yourself. But when it’s your own voice saying, “You’ll never sell anything,” self-defense is that much harder.

Deby Fredericks

Deby Fredericks

It’s because the competition is so intense that we must slay this dragon. No one ever sold a story without submitting it first. Self-Minimizing can be as much a habit as a reaction to stress. Begin to train your brain for the battle. “Yes, I’ve been writing for ten years.” “I’m getting pretty good at this.” “It’s a poem/song/story I wrote. Isn’t it great?”

Funny thing is, most people will take you at your word. If you say you’re a poet or author, they’ll believe you. Once you fight off that self-minimizing dragon, you’ll see how high you can fly!

Bio: Deby Fredericks is a small press author of fantasy and children’s novels. The latest is a book for middle-grades, Masters of Air & Fire, due in February 2015. Her blog, Wyrmflight, is all about dragons, and her home on the web is http://www.debyfredericks.com.

Want to be a guest blogger? Wonderful! I am accepting guest posts that focus on reading and writing. You are allowed a book link in the post as well as in your bio. A picture and a bio are encouraged. If you qualify, please email me at shannonathompson@aol.com. I’ll look forward to hearing from you!

~SAT

#SATurday: Writing in Shackles

24 Jan

#SATurday: Writing in Shackles

I recently found out I have early-onset carpal tunnel syndrome. I wasn’t even sure if that was a rare disorder for a female 23-year-old. Apparently, it is. I honestly don’t know much about it at all, but I am definitely learning. Being told I have to wear wrist splints for 6 weeks was my first lesson. As I’m writing this, I have successfully failed my first attempted night with my sleep shackles. Sort of. One is off so I can write. Across my desk, the other waits with open arms – or fasteners.

I have to confess that up until recently I always thought writing was the exception to the once-you-get-old-you-can’t-do-that-anymore rule. Unlike sports.

When I was 19, I worked in a small Mexican joint called Los Cabos, which I guess means I worked in the Midwest “capes”. I actually find that quite suiting since the air conditioning broke that summer, causing two hostesses to faint from the heat. But there was one coworker I remember quite vividly. He was a year older than me, working as a waiter until he could “figure things out”. I wasn’t sure what he meant until our boss allowed us to wear shorts (due to that pesky AC), and I saw his secret. It was impossible not to. I asked him about his overly intense knee brace.

As it turned out, the guy had a full ride scholarship to play football at one of those fancy universities I won’t bother naming. On the first day of practice – during the very first day he was living his dream – everything changed. He blew his knee out, and the scholarship was revoked. No more school. No more football. No more knee. But he could be a waiter.

I’m not judging waiters. I’m not. I worked in a restaurant for four years, after all. But the idea of dedicating 20+ years to your passion – in this case, football – and losing it from one injury has always (and deeply) disturbed me.

That was why I found extra comfort in my passion for writing. It was injury-free, practically safe. Potential insanity was my only concern. Not physical pain.

shackles

In my naïve head, I truly believed the only way I would lose writing was if something bizarre (and probably horrible and tragic) happened to my hands – a car wreck severed my fingers, a cancer consumed my veins, a disease peeled off my skin, etc. You get the picture.

I’m not sure why I thought this. Correction: I’m not sure why I let myself believe this. My late mother had rheumatoid arthritis, nerve damage, and Reynard’s Disease – all of which affected her daily hand functions – but she always had perfect nails. They always looked nice. Maybe that’s why some of her health problems never truly sank in. She appeared physically able – most of the time – to 11-year-old me anyway. But now – in this moment – I wonder what it would be like if she were still alive. I wonder if she would say anything to me about carpal tunnel. Maybe she could deliver some comfort by explaining how she overcame her daily pain, but I suppose she eventually succumbed to her pain instead of overcoming it, and I believe that’s why I might be entirely too disturbed by something – apparently – so regular. In argument, blowing out your knee is common, too, and so is losing your dream.

I don’t think I have lost my dream, but I feel for those who have.

If writing were a crime, wrist splints would be shackles and carpal tunnel would be the punishment of jail. Six weeks is my current sentence – but at least it’s only a lifestyle change, an adjustment, per se. And even I know my dramatics will subside if they haven’t already. Writing calms me. The pen allows me to breathe free air. And when I’m done writing this out, I will put my wrist splints back on as splints – not shackles – and I’ll take them off in the morning so I can write again. But until then, I feel for that waiter with the blown out knee and that girl who wasn’t tall enough to be a stewardess and that colorblind kid who only wanted to be a pilot in the Air Force.

I hope you found another dream to live,

~SAT on #SATurday

#MondayBlogs: Goodreads asks: How do you deal with writer’s block?

19 Jan

Intro:

Today’s guest post on #MondayBlogs is brought to you by author, Jeffrey Allen Mays. I had the honor of getting to know him after AEC Stellar Publishing, Inc. signed his debut novel, The Former Hero, and I encourage everyone to check out his website as well! After all, this energizing post was originally shared on there, and his insightful encouragement revolves around a topic all authors shudder at – writer’s block. Hopefully, after this post, writer’s block will become a thing of the past.

Goodreads asks: How do you deal with writer’s block?

Goodreads recently asked me to write a response to this question: How do you deal with Writer’s Block? Here’s what I said.WritersBlock21

We need to ask, What is ‘writer’s block?’ And we should be clear, it is not a clinical condition the way it sounds.

Swimmer’s Ear. Tennis Elbow. Tourette Syndrome. Erectile Dysfunction. Writer’s Block.

So-called ‘Writer’s Block’ is a state of mind in which a writer’s brain is not being particularly imaginative. For mere mortals, I think it is fairly common. Quotes you see on Facebook (at least, I have seen) to the effect that for ‘real’ writers there’s no such thing  as Writer’s Block are certainly annoying, but more to the point, they are just an expression of arrogance coming from one who apparently has a lot of natural activity in the creative part of the brain. Good for them. But even Hemingway lost it toward the end of this career after having the ability to write great stuff seemingly effortlessly, and then wax philosophic about it.

So I say, let’s take Writer’s Block down a few notches. Don’t resort to pharmaceuticals, and don’t define yourself by it.

When I can’t seem to get the motor running, I use a combination of going somewhere outside of the house, reading literature that I find the most brilliant and stimulating, and then, and this is the main thing, I muscle my way through (I did this yesterday). I sit in front of the blank page/screen for a long time doing nothing but thinking. Then usually after 2 or 3 hours (interrupted by coffee refills, ordering lunch, checking email, going to the bathroom etc.) I give up and just write something stupid:

“Dave was walking down the sidewalk.”

And from there I ask myself, What did Dave see? What interesting thing happened to Dave? And then I come up with, “Dave found something meaningful on the sidewalk” or “Dave had just emerged from donating blood, so he was woozy” or “Dave saw a homeless man lying still and feared that he might be dead…” And away I go.

No joke, it took me 3+ hours to get started because it’s been three weeks since I fed the monkey. I struggled with rereading everything I’d already written (it was a short story), but I knew that would take 20 minutes, and I would feel the need to start editing.

But I couldn’t think of something new and interesting to happen to my character. So I started with something stupid.

This may just be my new Writer’s Mantra. Start with something stupid.

Afterward, you can delete the stupid stuff. No one has to see it. The trick is letting yourself write something stupid. That may be the hardest part of all. Good luck!

candh.noodle.incident

#WW: The Lonely Writer

14 Jan

#WW: The Lonely Writer

Writing can be lonely. The career often demands hours of solitude – aside from our characters – and while our characters can be very real to us, there are still those days where a living, breathing human being might be nice to talk to. Most of the time, this urge only comes to me when I can’t find the strength to face my characters, and one of those times is right now.

I won’t call it writer’s block. I don’t believe in it. Writer’s block is almost a hysteria to me. But I can admit that I currently have writer’s depression – well, in reality, I think it’s safe to say I am depressed – but calling it writer’s depression allows me to focus on how my sadness affects my writing life.

quote-writing-at-its-best-is-a-lonely-life-organizations-for-writers-palliate-the-writer-s-loneliness-ernest-hemingway-344093

Ever since losing my publisher, it has been difficult. It has been hard to face my characters, and for more reasons than one. The main one is the idea of admitting to them that their stories might never be told. After all the work we’ve done together, it’s hard to admit this, even if it’s not entirely for certain. Other issues arise when I think about how I’m truly just talking to myself, even though talking to my characters does not feel that way at all. The strangeness bubbles up when I can admit that I’m okay with sounding crazy, but I’m not quite sure how to tell my characters about all of the changes that have taken place in my life…so, I’ve been avoiding them. It sounds silly, I know, but it feels a lot like not having the energy to visit with friends after you’ve had a rough week. You’re too tired – a bit too sensitive – and you don’t want to take out your emotions on your friends, so you stay home to avoid hurting your friendships.

I don’t want to destroy my characters.

You see, when I go through a rough time, I generally write a lot, but I write new things: a poem, a shiny new plotline, a card, this blog post. I don’t like writing in whatever I was writing in beforehand because my mindset has been altered for the time being, and during this time, I don’t want to accidentally disrupt the flow of a previous manuscript or scene or character. (Because this has happened before.)

It’s entirely insensible, but I understand that this is how my writing style works. On the contrary – if a character gets too demanding (like a best friend who shows up spontaneously to forcibly drag you out of your dungeon of Cheez-Its and blankets and kittens) then, I make a hesitant exception, and I try to listen to them, and this is generally when I realize little details have been missing from the manuscript before. So, I add them, and I slowly crawl out of my writer’s hole, and I pick up a pen, and I try again, and eventually, I know my characters – and my readers – still love me in the same way I still love them, in the undying way I love writing no matter how lonely it gets.

It is simply nice to talk about it with someone sometime.

Thank you for listening,

~SAT

P.S. Because I’m not writing right now, I do have a lot of free time for additional services! I connect authors with book reviewers and interviewers. I edit stories. I even create photos and give advice on social media. (And I like to believe my prices are far beyond fair. Seriously. I buy a Jimmy John’s sandwich for lunch.) Check out the full list of Services right here or email me at shannonathompson@aol.com.

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