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Life Changes: Literary Agent + New Job!

8 Jun

Hey all! In case you missed it, I’ve had a crazy past month. (Hence why I missed a blog post last week. My bad.)

Not only did I attend the LitUP Festival, where I had the utmost joy of introducing Adib Khorram, author of DARIUS THE GREAT IS NOT OKAY, L.L. McKinney, author of A BLADE SO BLACK, and Miranda Asebedo, author of THE DEEPEST ROOTS, but I also announced a new life change.

I am now represented by Katelyn Uplinger at D4EO Literary Agency!

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Here is me signing my contract. But of course my cats wanted to be involved.

I will write a blog post about my query trench experience soon, but here’s a quick rundown. I’ve been querying agents on and off since I was fourteen years old. (Almost fourteen years ago!) I can’t even tell you how many projects I’ve written, revised, and submitted in various formats. But I can tell you that prioritizing my querying life helped me the most. Making this decision wasn’t easy. It meant stepping back from blogging, social media time (that I had invested a lot of marketing/time/money in), and indie publishing. (I love indie publishing. Don’t get me wrong. But between my full-time day job, my part-time editing job, and life, I just did not have time to concentrate on publishing books while writing new ones for agents. At the end of the day, I knew I wanted an agent. It was the right next step for my little writer’s heart.) I even had to take a step back from writing time in order to make time to query.

According to my QueryTracker, I made this decision at the end of 2016. I started researching heavily, read blogs (QueryShark, Writers Digest, etc.), I entered query critique contests and other contests to meet writer friends, I attended conferences whenever I could afford to, I joined a local writers’ group as well as connected with online beta readers, and I kept writing. I never put all my hope in one book. (Even while I was querying the book that won my agent’s heart, I finished writing two other novels.) That being said, this is my journey, and every writer’s journey is different. In a way, I don’t believe in giving advice on querying any more than I do giving writing advice in general. It can be helpful, yes, but ultimately, every writer must figure out what works for them. This is what worked for me. And I’m totally thrilled to work with Katelyn Uplinger. I actually had the joy of speaking with three agents, but Katelyn really understood my project and my long-term career goals, so stay tuned!

I also accepted a new position at the Mid-Continent Public Library. I am now The Story Center Program Manager! For those of you unfamiliar with The Story Center, it’s an amazing home of storytelling, where storytellers and those who enjoy stories come together as a community. There are writing courses, author meet-and-greets, and so much more. Now I get to be a part of making that happen, and I cannot be more thrilled to start this new adventure.

Basically, my life has been super crazy good, but also super crazy busy.

So what are my next steps?

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Revisions!

I’m adjusting to my new job and taking on my first round of agent revisions. I’m currently working on IMMERSION! For those of you who have been following me for a while, you’ll remember that’s my botany-inspired videogame-esque sci-fi book about science and monsters! It’s my book baby, and I’ve worked on it for a very long time. In fact, according to my Instagram, I started writing it in October of 2016. It’s been three years of writing, revising, and querying various versions, and it’s incredibly exciting to get another chance to dive back in.

I promise I’ll try to keep up with everything else, including TAKE ME TOMORROW as well as one blog post a month, but please don’t be upset with me if I have to cut back on one or both for a little while. (I mean, I already missed it once. Eep.) I’ll definitely make an announcement if that is the case. Typically, those updates happen on my Twitter @AuthorSAT.

Whew! Okay, so that’s my crazy blog post this month.

To celebrate, I will be releasing a newsletter soon with an exclusive excerpt of Immersion, as well a giveaway for a signed copy of any of my books. (Open internationally!) Sign up here.

Now back to those revisions…

~SAT

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How I Outline (And Write) My Novels

4 May

Foreword: This week has been crazy. Between attending the LitUp Festival today, trying to coordinate the cover for TOOK ME YESTERDAY (the sequel of TAKE ME TOMORROW) on Wattpad, and some other crazy exciting news, I almost (ALMOST) let this blog post get away from me. (Thank the writing gods for iCalendar reminders.) That being said, I didn’t have time to plan a topic, so I reached out to you all via my social media to see what you were curious about, and writer Hannah mentioned outlining. (Shout out to Hannah!) So, I thought I’d show you how I outline my books as best as I can. (Which, surprise, surprise, has turned into a HUGE post about how I chaotically write novels.) Enjoy…

Now it begins.

Typically, I start outlining the moment a character/scene/world comes to me. All books approach me a little differently, but I always start off lying to myself by acting like I can stay organized as all these chaotic ideas flood in. Inevitably, I end up opening a new Scrivener project and creating a document called “Chapter One” – like all my ideas will come to me in cute, organized chapters ready to be written. This results in the first few paragraphs being my opening scene…and the rest being a scrambled mess. After, though, is where the real outlining begins.

I suggest starting off a book idea with a couple of documents:

  1. Book Bible: Maybe you don’t need a book bible at this point, but I always start it right away. Even though everything inevitably changes, this gives me one place to organize focused ideas so that they don’t get intermingled with my scenes. I typically have three main ones in separate documents:
    1. Character Sheet is where I collect basics: personality, looks, and character motivation. Character motivation is the most important. Obviously. But you also might not know it at this point, and that’s okay. Try to guess anyway. Get a real feel for your character and/or what you want this book to be about. Without knowing motivation, it might be hard to know why/how your character makes decisions, which, in turn, will make it harder to outline how your scenes move. 
    2. Past Timeline is where I start to collect my lead-up to the beginning of the novel. How did your characters get here? Why are they here? When did certain events shape them into who they are today? Why, out of all times, is this novel starting now?
    3. The World Building sheet is where I start to collect world building ideas. Think of things that happen in the background but won’t be a focus of a scene. Most important thing to ask here: What makes your world unique from all the rest in your genre? Try to emphasize that from the beginning.

It might seem like a lot to start off with a Book Bible, but I have found it helps me keep my outline simple when I move into scenes and dialogue. If I have all my world building notes intermingled with dialogue, scenes can get lost and/or confusing. Granted, once I finally choose a path, I will start to mix these, but in the beginning, I try to keep everything very minimalist. That way, I can see more of the big picture in an easier format.

  1. Unorganized: This document is where I begin writing dialogue or scene ideas. Go ahead and word vomit. Put all your ideas, scenes, etc. here when you have no idea where it is going to go. That way, it’s all on one page, and you can start moving it around when you’re ready. In this stage, I don’t even try to be coherent. I want those ideas down so I don’t forget them. I can reorganize later. Hence, “unorganized.” Embrace the chaos.
  2. Organized, a.k.a. Plan A: Once I finish my “unorganized” sheet, this is where I’ll start to try organizing my thoughts. Ex. Maybe I know I want the book to start with a bank robbery and end with a bigger heist, so I know where those two go. I will also know some basics. Ex. The love interests can’t fall in love until they meet, right? So I can put “X and Y” meet somewhere near the beginning, and then I go from there. This will eventually evolve into Plan B, Plan C, Plan Infinity.

If you’re still with me, yay! I know that was a little confusing. But I like to start where I begin in order to show where I end up. I’m the sort of outliner that’s always building on outlines upon outlines upon outlines upon outlines. So let’s move onto when I’m in the writing stages.

When I begin writing my books, I write a sort-of screenplay version first. This means bare bones, no descriptions, no prose, just dialogue and a few notes about what is physically happening. Below is an example from my current WIP. This tiny paragraph will literally become an entire chapter. It might not make sense to you, but it does to me, and that’s what matters. Take notes the way you need to take them.

After I have a screenplay version down for a couple of chapters, I stop to write in the prose. I may have an idea of where I want to go, but I don’t like to get too ahead of myself, because I know how characters can be. They don’t always follow the plan. In my current WIP, for instance, I have a plan for the rest of the book, but I’ve only written a screenplay for the next three chapters. (I’m also in the climax, so things are getting hairy!) Now that I’m writing, though, my outline will change dramatically. I’ve also learned that I’m not the type of writer who should edit as I go. I may edit prose to get back into what I wrote before, but I have stopped trying to edit whole scenes if I realize it needs to change while I’m writing. Ex. In my current WIP, my beta readers pointed out that one of my side characters needed (and, yes, I forgot this in a first draft) purpose in their own life rather than just exist to serve my MC. Instead of rewriting every scene they appear in, I kept writing, let myself explore the side character’s plot more, and realized what they needed earlier on in order to make their final actions exciting and, well, purposeful. If I had gone back and tried to force it, I would’ve wasted my time. Instead, I just put a little note (okay, a huge note, along with my beta readers’ notes) back in their opening chapter. Here’s a live shot of my beta readers putting me in my place. (God, I love them.)

Once you begin writing, I suggest keeping new documents and folders to stay organized, especially the deeper you get into your work. (And this is why I love Scrivener. It helps me stay organized at all stages in the process.) Currently, here’s what my WIP looks like. (And I’ll discuss what each of these are.)

CURRENT WRITING NOTES: This folder gets created as I get closer to the end of my book. It’s when I know I need to start making hard decisions, and I’m approaching the revision stage of my work. This is what all my other folders will eventually be placed into as I work through edits.

Completed outline:This is an outline of all the chapters I’ve already written. I always keep this as I create, as it helps me look back if I need to.

Past timeline: Same document as explained above. How did your characters get to the beginning of your book? It will grow as you write.

Written: I should call this “Written, but unused.” This is typically sections of the book I cut out while editing while writing. (I know, I know, I said I didn’t do that above, but alas, I lied to myself.) Also, this might happen in the screenplay version moving into the prose version. But it’s parts I love too much to let go and might reevaluate as I move into revisions.

Ideas: Similar to above, except never used ideas that I will reevaluate moving into revisions.

To-Do Editing: This is where I put my notes for things I know I will edit. Ex. That section about Scram above.

World Building Final: This is where I solidify my world building.

MANUSCRIPT

Beta Read: This folder includes all the chapters that have been beta read, along with their notes.

Drafted: This folder includes all the chapters that are written but haven’t been beta read yet.

To-Write: Obviously, what I still need to write.

Current Decision: This is an outline of what I think is going to happen.

Issues: Problems I still have that I need to fix.

Pending Ideas: Ideas that I want to happen, but haven’t found a place yet.

Nixie/Mire climax notes: Obviously, a part of my climax I’m working on, but have yet to place.

Main Plot Holes: Bigger issues to think about as I come to the end of the book. At this point in my process, I’m being brutal on myself. It’s time to be.

Chapter 25: B: Notes: This is the chapter outline for 25.

Chapters 26: M: Notes: This is the chapter outline for 26.

Women of Fates: Also a huge scene I’m working out that I know happens after 25/26, but before the ending.

Ending M/B: The ending is actually already written, but I keep it here in case things change. M and B stand in for my main two characters, Bram and Mireille.

PUBLISH/EXTRAS: My favorite folder. The fun folder.

Songs: A list of songs I’ve used to write. Even better? Try to say what scene it was for. That way, when you go back to edit, you can get back into that headspace.

Query: Yes, I’m already working on my query letter/proposal.

Don’t forget your Pinterest board either!

As you can see, my method is a bit chaotic, but it makes sense to me, and that’s what matters. You need to find what works for you. But maybe there’s something in here you see that you’ve never tried before but might try now.  

How do you outline? If you have any questions about specific folders/documents, let me know. I’m happy to elaborate! 

~SAT

Writing with a Motivational Calendar

13 Apr

My life has changed quite a bit over the past year. Between moving and starting (two) new jobs, I’ve had to adjust my writing life and the way I think about my writing life. As many of you know, I currently work full time at the library and then work part time as a freelance editor. Suffice it to say, I don’t have a ton of time to pursue writing, but I try not to let that get me down (because I definitely don’t have extra time to feel down about it either, though it happens from time to time).

So what does a full-time working adult do to feel like they’re still pursuing their writing dreams?

Well, write, of course, but I also keep a motivational calendar.

What’s a motivational calendar?

Technically, it could be whatever you want. Mine, in fact, has changed over the years. A couple years ago, for instance, I liked to have a “future” motivational calendar. Meaning, I would write down goals for that week, and then get it done. Now my calendar is focused on the past. Every day, I take the time to record everything I did to pursue my writing goals. Mostly, I write down my current word count, how many queries I sent, how many writing-related jobs (such as a literary internship) I applied for, and other miscellaneous info. I also make sure to outline where I started on Day 1 and then I update that info on the last day. That way, I can see progress. Oh, and my favorite part, I highlight major accomplishments, like a full request from an agent. 

Here’s a snapshot of my January calendar.

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Since it’s small, here’s some facts. I started 2019 with my WIP “The Girl With The Thousand Faces” being 26,996 words in first draft/plotting. At the end, it was 31,533 with significant world building being finalized. My other WIP “The Pharaoh’s Daughter” started at 53,633 in its second draft. It ended with 81,938 words and completed. In that time, I also applied for four jobs and sent out five queries on my YA sci-fi “Immersion.” Most exciting of all? I received a full request from an agent for “Immersion” and won the Secret Agent contest with my historical “The Pharaoh’s Daughter,” which also resulted in a full request from an agent. (P.S. Both are still pending, so keep your fingers crossed for me.)

It might seem tedious or silly to keep track of all the ways you pursue your dreams, but to me, it keeps me motivated. It helps me remind myself how hard I am working – that I haven’t given up my writing dreams because X, Y, or Z in life – and that I will keep trying. Plus, it’s easy to forget all that you do on a day-by-day basis, and by having a physical representation of it, you won’t forget. You’ll know how hard you work (and also know it’s okay to take a break). You might notice, for instance, that I don’t write every day, or do anything some days. And that’s okay. 

One word at a time, one day at a time, right?

Oh, and one more note of importance.

My calendar is definitely cat-themed.

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~SAT

 

YASH Spring 2019!

2 Apr

Welcome to the YA Scavenger Hunt!

Hello! I’m Shannon A. Thompson—YA SFF author, librarian, and neighborhood cat lady.

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About Me!

  • During the day, I work in marketing for the Mid-Continent Public Library, the largest library system in Kansas City, but at night, I write stories about monsters and mayhem. I’m currently working on a monster book that takes place in space!
  • I’m addicted to coffee, KDramas, and Sailor Moon. (Oh, and baking cupcakes at midnight.)
  • I have three cats that I call my little gremlins: Boo Boo, Bogart, and Kiki. Boo Boo is 17 years old and still going strong!
  • I’m on Wattpad! After tons of requests, I started posting my YA dystopian, TAKE ME TOMORROW, on Wattpad. This novel was originally published in 2014, but removed shortly after when the publisher closed down. Now I’m sharing it again, and the sequel, TOOK ME YESTERDAY, will release shortly after. (You might even get a sneak peek today!) Come say hi on Wattpad.
  • This May I’ll be at the LitUp Festival for young adult literature in Independence, Missouri! It’s an amazing event, and I can’t wait. More info here.
  • I’ll also be hosting CampNaNoWriMo write-ins at my branch this July!
  • My YA historical recently won the Authoress Secret Agent contest. Read an excerpt from The Pharaoh’s Daughter by clicking here.

I’m on TEAM GREEN this year.

Green Team

Searching for my exclusive bonus content? You’ll have to keep searching.

Somewhere on this blog hop, you can read an exclusive sneak peek of TOOK ME YESTERDAY, the sequel of Take Me Tomorrow that will soon be going up on Wattpad. You can also enter to win a signed copy of any of my books below. Before you go looking for it, check out the amazing author I’m hosting.

But maybe you need the rules first.

Scavenger Hunt Prize Rules

Directions: Below, you’ll notice that I’ve hidden my favorite number. Collect the favorite numbers of all the authors on the GREEN TEAM, and then add them up. (Don’t worry, you can use a calculator!)

Entry Form: Once you’ve added up all the numbers, make sure you fill out the form here to officially qualify for the grand prize. Only entries that have the correct number will qualify.

Rules: Open internationally, anyone below the age of 18 should have a parent or guardian’s permission to enter. To be eligible for the grand prize, you must submit the completed entry form by April 7 at noon Pacific Time. Entries sent without the correct number or without contact information will not be considered.

If you’d like to find out more about the hunt, see links to all the authors participating, and see the full list of prizes up for grabs, go to the YA Scavenger Hunt page.

Now that we all know the rules, please welcome…

I am super excited to be hosting…

MELINDA R. CORDELL!

About the Author

Melinda R. Cordell is a former horticulturist turned proofreader, a chicken wrangler, and small-time naturalist. She’s written the Dragonriders of Skala series with Pauline Creeden, which is like Game of Thrones, only with Vikings.

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About THE FLAME OF BATTLE

Dyrfinna is a born commander. She bests her peers in dragon riding, sword fighting, and battle strategy. So when the Queen calls the people of Skala to battle to revenge her murdered daughter, Dyrfinna leads her troops to victory in a series of hard-fought battles against overwhelming odds. Yet a commander is raised over her, and a disaster results in the massacre of a quarter of the Queen’s army. Then the commander unfairly blames a second disaster on Dyrfinna. The wrong stroke of her sword could undo everything she’s ever worked for … and exile to certain death.

Bonus Material:

Here’s a little story about how I came up with the idea of the main character for The Flame of Battle.

Well, Pauline Creeden and I met each other in a little collaboration group and decided to write a book together. Pauline said, “I have some cool book covers with Vikings and dragons on them so let’s write a story about Vikings and dragons.” I said, “Oo, shiny!” I’m a dragon fan anyway, so that was a no-brainer. However, I knew next to nothing about Vikings, so I jumped into the research.

Now, I’d just written a nonfiction book about women soldiers in the Civil War. I’d always been interested in military strategy, and war stories. When I was reading about Vikings, I read about a burial mound from Birka, Sweden that contained a female military commander who was buried with high military honors, from all the things that were buried with her. She had a hnefatafl, or a King’s Table, game buried with her. It’s a strategic game that’s something like chess.

This grave was considered to be the iconic Viking grave and the person in it was considered to be a battle-hardened man — until careful DNA study proved that this was a woman.

Then a bunch of archeologists lost their minds, saying, “A woman can’t be a military commander! That’s impossible!” This is pretty much the same thing that some Civil War historians say about women soldiers in the Civil War. But that’s nonsense. Of course women can fight. Of course women can serve with distinction and valor in war. I know women who voluntarily signed up for military service. A bunch of yelling men ain’t going to change these facts.

Anyway, I read about this warrior, and wanted to write a story about that woman on the battlefield and how she might have gotten her start as a military commander. Except with dragons. And so that’s how I came up with the idea of Dyrfinna, leading her army division into battle.

The Flame of Battle also has dragons, and swords, and a little bit of romance, and a battle-hardened young woman willing to make the heartbreaking choices that come with war.

Thank you for coming on, Melinda!

I love hearing what inspires writers. They’re like super hero origin stories, right? (And, seriously, how cool is that tidbit of history?) The last time I read such an interesting origin tale was 23 days ago. I suggest taking that information and entering the YASH contest for a chance to win a ton of books by me and many more. Just check out all these awesome titles on the GREEN TEAM.

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To enter, you need to write down my fav number, and find all the other numbers on the GREEN TEAM, add them up, and you’ll have the secret code to enter for the grand prize!

Exclusive Giveaway!

Thank you so much for stopping by! While you’re here, don’t forget to enter the Rafflecopter bonus contest I am hosting exclusively during the YA Scavenger Hunt. One lucky reader will win a signed copy of ANY of my books. They will also win signed swag from both of my series. Good luck!

Enter this Rafflecopter for your chance to win.

Ready to move on to the next link in the hunt? Then head on over to visit author SARA B LARSON’s page.

LINK TO NEXT BLOG

Learning to Write from TV: The Umbrella Academy Edition

2 Mar

Writers are often told to read (and read a lot) in order to know how to write. And while I totally agree with that sentiment, I also think writers can learn from other forms of media. Yes, including TV shows. (Even TV shows adapted from a novel or comic book.) In fact, I think TV is often an easier reference for writers to discuss. Why? Because there are dozens of best-selling novels that come out every week, whereas there’s only a handful of TV shows that everyone seems to be talking about. Recently, for instance, the Netflix show The Umbrella Academy began to trend, and it seemed like everyone was chatting about it, including the publishing industry. Perhaps this is because it was adapted from a comic published by Dark Horse Comics. But what I want to concentrate on is how we can use popular TV to teach writers about trends, topics, and storytelling.

How can we use TV to discuss writing? By picking out the pros and cons, of course.

Here’s a few based on The Umbrella Academy.

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Also, major spoiler alerts begin here. I will discuss major events, including the ending, so if you don’t want this show spoiled, bookmark this article now and come back later. If you’re not planning on watching, I think this can still be a beneficial example of using TV to discuss writing. If you’ve already watched and don’t care about spoilers, awesome! But make sure to warn your followers of spoilers if you decide to share this piece.

Thanks for keeping entertainment fun!

Let’s start with a pro, since I like to concentrate on the positive:

Pro: Siblings with Personality

The Umbrella Academy follows seven children adopted by an eccentric billionaire after they were born in quite an unusual way. Six of these seven appear to have superpowers and are raised practicing these powers, with the seventh “ordinary” child being kept from lessons. That being said, the actual show takes place in their adult years. Rarely, do I see siblings depicted so realistically (especially in fantasy, especially in big families). Each sibling has their own personality, struggles, and place in the family. Even better? They treat each other differently based on their past selves, present relationship, and future desires. I really enjoyed watching the brothers and sisters bicker as much as joke, and lift each other up (while also pushing each other down). You know, complications. Too often we see a brother or sister appear in a minor supporting role with little to no depth or personal drive. And we definitely don’t see enough big families. I absolutely loved them and thought they were believable, round characters. (My only complaint on these particular siblings was the relationship between Allison and Luther. Non-biologically related siblings who have romantic tension isn’t necessarily my issue. My issue is that I found it uncomfortable, based on the fact that they were raised from birth together, as compared to similar tensions found in cases where they were not raised together, i.e. Avery and Atlas in The Thousandth Floor by Katharine McGee.) But that is a personal preference and a different discussion for another day.

Con: Female Tragedy for Male Depth

Far too often female characters suffer trauma, including death, in order to push male characters forward. Now, I’m not saying female characters cannot suffer, or die, but when the suffering of a female character (or any minority character) exists solely to push the male character into growth, then I’m not happy. This particularly happens with Diego, whose girlfriend Eudora dies for no other reason than to have Diego question his purpose, not once, but a number of times. When it isn’t Eudora pushing him, then it’s his mother, a robot, who he has to turn off at one point. A simple solution would’ve been emphasizing Diego’s desire to make his childhood suffering mean something by becoming a superhero (though this is only mentioned once, by – you guessed it – Eudora, right before she dies), while highlighting Eudora’s personality as someone who always had to follow the rules, who then dies when she finally agrees to break the rules (though this only happens, because – you guessed it again – Diego dared her to). Ultimately, these topics were barely touched in comparison to Diego’s rage over her death. This caused an uncomfortable situation where the male character could not grow without two female characters being hurt, or more specifically, killed. This also happens later in the show with Luther and Allison, as Luther consistently decides he exists in order to protect her by forcing his decisions on her. Not to mention Allison gets her throat slit once, which further takes her voice away. Now, granted, I will acknowledge that Allison’s powers exist in her ability to speak, so her losing her voice is far more symbolic than just Luther trying to oversee her decisions, but the combination of Luther’s lack of boundaries mixed with her silence bothered me. (Probably because the other brothers become complicit in it.) In contrast, the female characters are not driven by male pain. Allison is driven by her daughter, and Vanya is driven by her need to be accepted. The only instance where we see a female character driven by male pain is with Vanya, who reacts violently when her boyfriend “Peter” is hurt in a fake fight. Even then, though, the ultimate attention is averted from Peter and placed back on Vanya’s inability to control her powers. This sort of emphasis could’ve easily gone the other way with the male characters as well. Basically, it’s not about one gender causing another gender to react, but rather the emphasis at which it is focused on and what it means. We can do better.   

Pro: Humor Mixed in with the Serious

We do not have enough humor in fiction. That goes for flat-out humor books, as well as humor sprinkled throughout other genres. It’s one of the reasons I often find 600-page fantasy novels exhausting. (Which, by the way, is the main type of book I read.) I have found that the fantasy novels I love the most include moments of quiet, as well as humor (and from numerous characters and situations). The Umbrella Academy kills with their humor, especially with Klaus. I wish I could expand (because my negative sections feel longer than my positive), but this love is pretty straight-forward. I want more humor in everything.  

Con: Villains Suffering From Mental Health and Broken Homes

Listen, I get it, villains are supposed to be evil, and evil things can happen because of untreated mental illness. I’m not denying that. However, evil comes from non-mentally ill places as well, but modern entertainment is still leaning towards one more than the other, especially when it comes to female characters. I feel like it’s an overused trope, especially when clear lines aren’t drawn and discussed. The worst part for me in The Umbrella Academy is how unclear they made Vanya, especially when using her childhood flashbacks. It is never clarified if her powers are causing her to kill or if she, herself, has mental health issues and those issues were exacerbated by her powers, not to mention her father’s decision to cover her powers up without telling her even into adulthood. By not clarifying, especially when she begins to hallucinate (something that could be seen as schizophrenia), the art is setting up viewers to interpret mental health vs. evil, or even blending them, and I don’t like that message. We need to do better when it comes to depicting mental health. Take the time to clarify, even it means clarifying that no one truly knows. Without that, we will continue to get the same images, in this case, a young Ellen Paige discussing anxiety and nerves while shakily popping pills, then adding a montage of killing nannies as a child before she was on medication, (when no one else is depicted to be using medication or to have anxiety or anything), and that’s unacceptable. On a side note, I also hate that the male villain comes from a broken one-parent home. Is it just me, or is the only “positive” depiction of one-parent homes in popular entertainment Gilmore Girls? I’m probably biased, because I grew up in a one-parent home after my mother suddenly died. My dad raised me, and he is awesome. (I’m obvs. sick of seeing deadbeat dads, too.) Most of all, I’m really, really tired of watching motherless children become the epitome of evil, while orphans become heroes. Not that orphans can’t be heros, but why is it that losing two parents equals a superhero cape and adventure, and losing one means anger and doom? And where are the villains who come from “good” homes? And the heroes with two parents? And, and, and. We need more variety.   

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Pro: Mashup of Tropes

The Umbrella Academy is a master of mashing up common tropes in unique ways. What do I mean by that? Well, as most writers know, nothing is new. With hundreds of years of literature behind us, everything has been done before. Writing isn’t about creating something no one has created before, because – spoiler alert – someone has created it. Instead, writing is about creating something new by using what we already have in unique ways. And The Umbrella Academy kills it, specifically with science fiction and fantasy tropes. To name a few, we have superheroes saving the world, a boy who sees dead people, a time-traveler, a monkey who has been experimented on until it’s more human than monkey, and a girl who thinks she doesn’t have powers (but, duh, she does), who is also the person who can’t control their powers. We’ve seen these characters and abilities depicted dozens of times. So how was this show unique? Let’s look at Klaus, the boy who sees dead people. Instead of trying to scare the viewer with Klaus’s powers (think Fifth Sense), The Umbrella Academy focuses on how Klaus himself is scared and how he has coped (or failed to cope) with his powers. Not to mention his dead brother Ben who follows him around to try to help him cope with his drug abuse. Learning to utilize tropes is an important aspect of writing in any genre, and I’d point any sci-fi/fantasy writer toward The Umbrella Academy for a lesson on that. In fact, I could probably write another ten pages on every trope the show used and how it spun it in a fun, entertaining way. But I’ve already rambled enough on here.

Netflix Hargreeves GIF by The Umbrella Academy - Find & Share on GIPHY

Con: Non-Ending Endings

There’s a big difference between a cliffhanger and a non-ending. Cliffhangers leave the reader or viewer wondering what will happen to the characters after the ending wraps up most (if not all the questions) posed at the beginning of the book or show. A cliffhanger is a hand popping up from a grave after the characters killed the villain, only for the villain to come back to life. A non-ending ending is when the villain and the hero are finally facing off and someone holds up a gun and shoots, but we never see where the bullet goes or who shot the gun or if it did anything at all. In my opinion, I felt like The Umbrella Academy has a non-ending ending. The entire time it’s focused on surviving this impending apocalypse, only for when it hits for them to disappear to some mysterious non-named time period in the past due to their time-traveling brother. It feels really cheap. Honestly, I think it could’ve been a cliffhanger if they had showed us exactly what time period they went to. Or even their childhood with the father standing before them, ready to train Vanya with them instead of ostracizing her. It would wrap everything up, but would still make us wonder if the solution would work. The fence between a cliffhanger and a non-ending ending is thin, but I feel like creators have begun to favor non-ending endings more than actual cliffhangers, and it drives me crazy. (And not in a good way.) I love cliffhangers. I’m happy to be enticed to the next season. But don’t make me feel like I wasted my time by telling me nothing by the end either.

In non-writing related notes: I loved the soundtrack and cinematography and the storyline in general. In fact, they played one of my favorite writing songs (“Run, Boy, Run” by Woodkid) and even made it the title of Episode 2. (If you haven’t watched the music videos for Woodkid’s entire album, do it now. It’s pure art.) I also loved the sets and directing style of nearly every scene. And not going to lie, I was super happy to see Hazel and the donut lady end up together. (I’ve never been so invested in a side characters before.) The show is super entertaining, and I’d highly recommend it to sci-fi/fantasy fans. I enjoyed myself a lot, and actually made the time to finish all 12 episodes (which is rare for me). I would definitely check out another season. And I felt like I was reminded of a lot of writing skills.

So do you think writers can learn from watching and discussing TV and movies?

If so, what shows do you think are good examples?

Tell me about them!

~SAT

 

My Average Day as an Author

2 Feb

Despite tons of movies and books revolving around authors and publishers, the life of the average author is still pretty mysterious to most. Why?

  1. Hollywood never gets publishing right. Ever. This is the one fact agents, editors, publicists, and authors agree with.
  2. An author’s journey to publication is unique, VERY unique, and authors’ lives reflect that.

Being an author is hard work. And most authors—yes, even famous New York Times bestsellers—can’t afford to be full-time writers without someone else supplementing their income, health care, etc., and even then most of us have day jobs or a side hustle or both! I could go on and on about the different types of author lives I’ve seen out there, but I thought I’d share mine instead.

So what’s my average day as an author like?

Morning: Time to get up and go to work

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Also, my co-worker got me a desk blanket, so I stay warm all day.

Yes, I work a full-time day job. I currently work in marketing for the Mid-Continent Public Library. Basically, I study our demographics and choose programming that I think would best suit our community. I also change out displays, research tools we could utilize, and work on desk serving the community. (Librarians have to be super flexible. You go wherever demands are needed, and that changes any given minute.) It’s an 8-5 instead of 9-5 (because librarians don’t get paid for their lunch break at my location), so I actually spend a minimum of 45 hours a week at work. That being said, I love my job. It’s pretty fulfilling.

Lunch Break, a.k.a. Precious Writing Time

At my day job, we are required to take a one-hour lunch break (again, not paid). Which is fine with me. I spend about 15 minutes slamming whatever meal-prep nonsense I made the night before, and then I spend the rest of the 45 minutes writing whatever I can in my book. I actually just hit my first 10,000 words accomplished on my lunch break alone, which felt like a huge stepping stone for me. If the writing isn’t working that day, I spend my lunch break writing blog posts (like this one!) or updating my author website, scheduling social media posts, checking my e-mail, reading my beta partners’ latest, or editing work for my clients. Clients, you ask? Yes, I have another job on top of my library job. But I’ll get to that in a minute.

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Finishing Work

Sometimes at work, I get to process books, which basically means checking returned books and giving them the all-clear to go back out on the floor. My work is nice enough to allow us to listen to podcasts or music during these shifts. (They don’t happen every day, but I thought it important to mention since I get some work done during this as well.) Basically, if I’m lucky enough, I can listen to a writing podcast or a podcast focusing on my current research. It helps catch me up some weeks, not going to lie. Also, I’ve learned to love processing as a reader. I stumble across all kinds of books I never would have found on my own, and it’s broadened my reading spectrum like no other. I read more adult books than ever before, and it’s nice to have a reprieve from YA every now and then.

After Work to Bedtime

I drive home, generally listening to more research podcasts. If errands need to be run—groceries, gas, etc.—they’re typically done here. When I get home, it’s time to feed the cats, clean the dishes, make dinner, meal prep for the next day, exercise (or so I tell myself), and get to bed. Very rarely do I have the energy to write during this time frame, but I usually have the time to read. I catch up on my latest and head to bed, ready for another day.

So what about my weekends?

04cc48864d346eebfdf2a4d7e6747617On Saturdays, I spend the entire day working on my services. Between editing during my lunch breaks and editing all day Saturday, I spend about 15-20 hours per week editing. Sometimes more, sometimes less. I won’t lie, I considered shutting down my services when I started my full-time job, but I just couldn’t. I love editing too much, and I have a number of clients I love to work with over and over. (Shout out to Steven Ramirez, C.E. Johnson, Grant Goodman, J.N. Colon, Rich Leder, and more! Seriously, check out their books. They are all so talented.) At the end of the day, editing is still one of my passions, and I want to spend time working with authors on their novels. Not going to lie, though, while I’m editing, I spend time catching up on housework. (Those dishes and laundry won’t clean themselves.) And I drink a lot of coffee. Obviously

I take Sunday off. No emails. No editing. No writing. I even try to refrain from social media. It’s time to spend with family without distractions. And then, Monday starts the chaos all over again.

That’s my average author life.

I work one full-time job and one part-time job, but I try to fit my author life in with everything else.On average, I work 60 hours per week. I may not have the most writing time or personal time or TIME, but hey, I’m doing the best I can every day. Every novel was written one word at a time, just as this blog post was, and I’m about to put more down after this!

Fun fact: I’ve actually covered this three times in the past, because my life has changed that much. If you’re curious, this is what my life was like as a night-working full-time freelance editor and publicist in 2015, and here’s my post in 2013 that covered what my writing life was like as a full-time college senior working part-time at a publisher.

So what’s your average day as an author like?

~SAT

Is it Possible to Read Too Much as a Writer?

5 Jan

Last year, I read 167 books according to Goodreads. Granted, this is a mixture of everything under the publishing sun: adult fiction, YA, MG, graphic novels, and, yes, even picture books. My job at the library has definitely broadened my reading sphere, for which I’m super grateful. (I never knew picture books could be so extensive—and gorgeous! When I was a little, I feel like we had two options: Dr. Seuss and Chicka Chicka Boom Boom. But that’s beside the point.)

I read a lot, and lately I’ve wondered if I read too much.

Is that even possible? (Especially for a writer.)

I don’t know. Maybe, maybe not. I don’t think this question has a simple answer, as it depends on the writer’s life: how much free time they have, their access to books, how reading affects them, their writing goals etc. If, for instance, you are on a serious deadline, you probably need to put writing ahead of reading in order to meet that. In contrast, if you’re a new writer, it’s recommended you spend more time reading in order to understand storytelling, the market’s needs, etc. As Stephen King famously said, “If you don’t have time to read, you don’t have the time (or tools) to write. Simple as that.”

But what happens when you spend all your time reading and not writing?

When I look back on 2018, I know I read a lot more than I wrote, which is fine. Between starting two new jobs and having to move, writing often felt like too much. But I could handle reading. It was my reprieve from everything else. Writing usually is as well, but almost every time I sat down to write, I felt way too weighed down by everything else. Now that I’m more adjusted to my new life, though, I feel a bit burnt out on reading—and yet, I’ve struggled to tune down my reading time to make more room for writing. Why? Maybe I got used to reading more and writing less, and now I have to readjust again. Who knows. One thing that’s helped me is taking my laptop to work and writing during my lunch break; then, when I come home, reading. It’s still a lot more reading time and less writing time, but I’m hoping the slow adjustment helps my writer’s brain turn back on.

It’s such an isolating feeling watching your fellow writers crank out chapter after chapter when you’re only reading them. But reading is definitely good for writers too. That being said, I have a goal of reading less this year. I spent so little time writing I feel like I need to re-fill that well in my life. So far, writing during my lunch breaks has helped me write more than when I was trying to sit down at home. Even if it’s only a couple hundred words a week, it’s enough. I can see my word count moving again, and I can feel myself getting into the motion of writing more. I’m being more critical about the books I take home, and putting down ones that I don’t want to finish (instead of forcing myself through them).

In the end, I don’t think I spent too much time reading this year, because of my circumstances. It was right for me at the time. But I definitely can see how reading can take over a writer’s life if they aren’t careful. (I mean, most of us started writing out of a love for reading, right?)

In the end, I think a writer can spend too much time reading. But they can also spend too much time writing, or querying, or editing, etc. It’s all about balance and figuring out what works for you.

So what do you think? Can a writer spend too much time reading?

~SAT

P.S. I’m blogging again. Thanks for your patience! To be honest, I have a very small goal of posting once a month (on the first Saturday), but I hope you enjoy them regardless!

P.P.S I’m also posting TAKE ME TOMORROW on Wattpad again, with the plan to follow up with the sequel. I plan on blogging about the decision, but you can read more about that on Wattpad by clicking here. A new chapter goes up every Saturday! I hope you’ll stop by and support me.

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