Writing is…

…the one thing you’re good at.

…the hardest thing you’ve ever done.

…just a career.

…the one thing that keeps you going.

…the daily grind.

…the next stolen moment.

…a windowless room papered with rejections.

…an endless horizon, no points of reference in sight.

…an easy escape.

…the hardest taskmaster.

…a high school party–the kegger with cool kids–where you don’t belong.

…a circle you pull others into, your arms outstretched.

…the safest place.

…dangerous ground.

…an affectation, pretentious rambling.

…bare-boned truth, exposed and sharp. 

…nothing to speak of.

…everything all the time.

…the secret you never tell.

…80,000 pieces of you, strung out and shouting, 250 declarations per page.

This coming Saturday, I’ll be making my very first author appearance. How fun is that? And I hope you’ll be able to join the fun and attend YAKFEST ’13, where I’ll be moderating a YA panel. And wow, is it going to be a good one. I’m already a little starstruck just thinking about it!

I’ll get to ask YA authors Rosemary Clement Moore, Cory Oakes, Victoria Scott, Mary Lindsey and Jeff Hirsch to spill all their secrets, and my friend and fellow debut author, Julie Murphy, will also be moderating a fantastic panel with another all-star lineup–Jessica Anderson, Charles Benoit, Chris Crutcher, Simone Elkeles, Guadalupe Garica McCall, Jessica Warman, Lori Aurelia Williams and Shannon Greenland will appear on a comtemp YA panel.

I would love to see you there. Of course, I cannot promise I won’t hug you if you do. Did I mention I’m a hugger? Or…I also specialize in the awkward stare. And I’m pretty good at dropping things while talking. You know…whatever you prefer. We can work that out later.

For now, here are the important deets about YAK FEST:
WHEN: Saturday, January 19, 9am – 5pm
. Come when you can and stay for as long as you like, of course we want you there all day!

COST: TOTALLY FREE.

WHERE: Keller High School, 601 N. Pate Orr Rd. Keller, TX 76248

SOCIAL MEDIA:

https://twitter.com/YAK_Fest

https://www.facebook.com/YAKbookfest

http://teacherweb.com/TX/KellerHighSchool/YAKFest/apt1.aspx

KEYNOTE SPEAKER: Simone Elkeles, BAM. That’s what we’re talking about.
Panels of AWESOME Breakdown: 


Keeping It Real – Jessica Anderson, Charles Benoit, Chris Crutcher (afternoon only), Simone Elkeles, Guadalupe Garica McCall, Jessica Warman, Lori Aurelia Williams and Shannon Greenland
This is Not Normal – Rosemary Clement Moore, Cory Oakes, Victoria Scott, Mary Lindsey and Jeff Hirsch

This is Not Normal Either – Krissi Dallas, Tracy Deebs, Greg Leitich Smith and Andrea White

Vampire Smack Down – Cynthia Leitich Smith, Rachel Caine and Jason Henderson

There will be books available for purchase from The Book Carriage, and they will be selling books all day. 
The Book Carriage will accept cash and credit cards.
 You may bring some books from home for authors to sign.
 Food and drinks will be available for purchase at lunch.
 Of course you can talk and have your picture taken with your favorite author(s) during the signing.  The YAKFEST Yak insists upon it.

Will I see you there?

I play electric guitar, a lefty Sheraton II.  Picking it up has made me a better writer.

I swear. Seriously, there’s a correlation here. I might as well go ahead and thank Steve Vai, the legendary guitar virtuoso who opened my eyes. I recently read Guitar World’s interview with Steve and guitarist Tosin Abasi, and it’s changed the way I think about stringing words together. Abasi and Vai spoke a lot about musicianship, but I think their words speak volumes about growing and evolving as any kind of artist.

“…When I got hold of the guitar, the thing that really lit me up about the instrument is you try to do something and you can’t, but then you work on it and all of a sudden you can…That’s how it works. You become fascinated…It was an escape from other things in my life. And when you can’t do something but you work at it and then you can do it, you get this sense of achievement, which is something we all really thrive on, and also a sense of dignity that might have been destroyed by something else. So that in itself creates this feedback effect, this addiction. It was a beautiful thing for me.” –Steve Vai

Are writers so different? We stretch for the words just outside our reach, scribbling and typing and revising until we can grasp them. And when we find the right words to build a connection between the page and the reader, we’re euphoric, self-affirmed, if only for a moment . Yes, it’s hard to keep working to improve, writing book after book, but we crave that rush, the satisfaction of knowing these pages are better than the last ones. The struggle is its own addiction.

Vai elaborates on doing to hard work:

“…And when the Zappa gig came along and he was like, ‘Can you play this?,’ I was like, ‘Of course I can play it.’ ‘Cause all you gotta do is work on it. Slowly, slowly, note by note. It was unfathomable to me than any guitar player couldn’t do it. And I realized why. They just didn’t have the chutzpah to sit there and work on it…Greatness is an inspiration that a person has. So we can tell people how to be a virtuoso guitar player: just sit and practice really slow and perfectly and make sure you have vibrato and your intonation is perfect and then get faster and faster and just don’t do anything that you can’t play. Every week, click the notch up a bit. And then you’ll be able to play anything.“

Writer, your keyboard/palette/lens isn’t so different than six strings. Play.

Abasi echoes Vai:

“What happens is there’s this revelation that if you put in work on something you can’t do at first, eventually you can do it. And the first time that happens it is kind of like an addiction. You want it to happen again. And the more it happens, the more you’re confident that it can happen. So you start chasing your potential. You realize, Yeah, eventually I might get as good as I try to get. It feeds itself. So it’s not like you’re locked in a room practicing under obligation. You’re concerned with your own potential. You’re like, I’m full of potential and I’ve already started to unlock it. and I could spend the rest of my life doing it.”

Spend your life chasing down that next song or the next story or the next image or whatever it is you long to create. The process will nourish you as much as the end result.

“Getting better on guitar is really just a reflection of your ability to chisel out your own doubt. Criticism can be devastating. When push comes to shove, we are all very sensitive. I know I can be. Artists have this burning desire to create something that will gratify other people–when you find the right audience. No matter what anybody tells you, we want to be appreciated; we want to feel like what we’re doing has value and that we’re making a contribution. But what we have to get through our heads is it’s not for everybody, but is is for a select group. And when you follow your muse and your creative impulse sincerely, you find that audience comes. They come.” –Steve Vai

Don’t give in to the monster of self-doubt. Find your voice. Build connections, word by word. Keep writing until you can.

(Also, get yourself a subscription to Guitar World. It will feed your inner artist.)

I play electric guitar, a lefty Sheraton II.  Picking it up has made me a better writer.

I swear. Seriously, there’s a correlation here. I might as well go ahead and thank Steve Vai, the legendary guitar virtuoso who opened my eyes. I recently read Guitar World’s interview with Steve and guitarist Tosin Abasi, and it’s changed the way I think about stringing words together. Abasi and Vai spoke a lot about musicianship, but I think their words speak volumes about growing and evolving as any kind of artist.

“…When I got hold of the guitar, the thing that really lit me up about the instrument is you try to do something and you can’t, but then you work on it and all of a sudden you can…That’s how it works. You become fascinated…It was an escape from other things in my life. And when you can’t do something but you work at it and then you can do it, you get this sense of achievement, which is something we all really thrive on, and also a sense of dignity that might have been destroyed by something else. So that in itself creates this feedback effect, this addiction. It was a beautiful thing for me.” –Steve Vai

Are writers so different? We stretch for the words just outside our reach, scribbling and typing and revising until we can grasp them. And when we find the right words to build a connection between the page and the reader, we’re euphoric, self-affirmed, if only for a moment . Yes, it’s hard to keep working to improve, writing book after book, but we crave that rush, the satisfaction of knowing these pages are better than the last ones. The struggle is its own addiction.

Vai elaborates on doing to hard work:

“…And when the Zappa gig came along and he was like, ‘Can you play this?,’ I was like, ‘Of course I can play it.’ ‘Cause all you gotta do is work on it. Slowly, slowly, note by note. It was unfathomable to me than any guitar player couldn’t do it. And I realized why. They just didn’t have the chutzpah to sit there and work on it…Greatness is an inspiration that a person has. So we can tell people how to be a virtuoso guitar player: just sit and practice really slow and perfectly and make sure you have vibrato and your intonation is perfect and then get faster and faster and just don’t do anything that you can’t play. Every week, click the notch up a bit. And then you’ll be able to play anything.”

Writer, your keyboard/palette/lens isn’t so different than six strings. Play.

Abasi echoes Vai:

“What happens is there’s this revelation that if you put in work on something you can’t do at first, eventually you can do it. And the first time that happens it is kind of like an addiction. You want it to happen again. And the more it happens, the more you’re confident that it can happen. So you start chasing your potential. You realize, Yeah, eventually I might get as good as I try to get. It feeds itself. So it’s not like you’re locked in a room practicing under obligation. You’re concerned with your own potential. You’re like, I’m full of potential and I’ve already started to unlock it. and I could spend the rest of my life doing it.”

Spend your life chasing down that next song or the next story or the next image or whatever it is you long to create. The process will nourish you as much as the end result.

“Getting better on guitar is really just a reflection of your ability to chisel out your own doubt. Criticism can be devastating. When push comes to shove, we are all very sensitive. I know I can be. Artists have this burning desire to create something that will gratify other people–when you find the right audience. No matter what anybody tells you, we want to be appreciated; we want to feel like what we’re doing has value and that we’re making a contribution. But what we have to get through our heads is it’s not for everybody, but is is for a select group. And when you follow your muse and your creative impulse sincerely, you find that audience comes. They come.” –Steve Vai

Don’t give in to the monster of self-doubt. Find your voice. Build connections, word by word. Keep writing until you can.

(Also, get yourself a subscription to Guitar World. It will feed your inner artist.)

I play electric guitar, a lefty Sheraton II.  Picking it up has made me a better writer.

I swear. Seriously, there’s a correlation here. I might as well go ahead and thank Steve Vai, the legendary guitar virtuoso who opened my eyes. I recently read Guitar World’s interview with Steve and guitarist Tosin Abasi, and it’s changed the way I think about stringing words together. Abasi and Vai spoke a lot about musicianship, but I think their words speak volumes about growing and evolving as any kind of artist.

“…When I got hold of the guitar, the thing that really lit me up about the instrument is you try to do something and you can’t, but then you work on it and all of a sudden you can…That’s how it works. You become fascinated…It was an escape from other things in my life. And when you can’t do something but you work at it and then you can do it, you get this sense of achievement, which is something we all really thrive on, and also a sense of dignity that might have been destroyed by something else. So that in itself creates this feedback effect, this addiction. It was a beautiful thing for me.” –Steve Vai

Are writers so different? We stretch for the words just outside our reach, scribbling and typing and revising until we can grasp them. And when we find the right words to build a connection between the page and the reader, we’re euphoric, self-affirmed, if only for a moment . Yes, it’s hard to keep working to improve, writing book after book, but we crave that rush, the satisfaction of knowing these pages are better than the last ones. The struggle is its own addiction.

Vai elaborates on doing to hard work:

“…And when the Zappa gig came along and he was like, ‘Can you play this?,’ I was like, ‘Of course I can play it.’ ‘Cause all you gotta do is work on it. Slowly, slowly, note by note. It was unfathomable to me than any guitar player couldn’t do it. And I realized why. They just didn’t have the chutzpah to sit there and work on it…Greatness is an inspiration that a person has. So we can tell people how to be a virtuoso guitar player: just sit and practice really slow and perfectly and make sure you have vibrato and your intonation is perfect and then get faster and faster and just don’t do anything that you can’t play. Every week, click the notch up a bit. And then you’ll be able to play anything.”

Writer, your keyboard/palette/lens isn’t so different than six strings. Play.

Abasi echoes Vai:

“What happens is there’s this revelation that if you put in work on something you can’t do at first, eventually you can do it. And the first time that happens it is kind of like an addiction. You want it to happen again. And the more it happens, the more you’re confident that it can happen. So you start chasing your potential. You realize, Yeah, eventually I might get as good as I try to get. It feeds itself. So it’s not like you’re locked in a room practicing under obligation. You’re concerned with your own potential. You’re like, I’m full of potential and I’ve already started to unlock it. and I could spend the rest of my life doing it.”

Spend your life chasing down that next song or the next story or the next image or whatever it is you long to create. The process will nourish you as much as the end result.

“Getting better on guitar is really just a reflection of your ability to chisel out your own doubt. Criticism can be devastating. When push comes to shove, we are all very sensitive. I know I can be. Artists have this burning desire to create something that will gratify other people–when you find the right audience. No matter what anybody tells you, we want to be appreciated; we want to feel like what we’re doing has value and that we’re making a contribution. But what we have to get through our heads is it’s not for everybody, but is is for a select group. And when you follow your muse and your creative impulse sincerely, you find that audience comes. They come.” –Steve Vai

Don’t give in to the monster of self-doubt. Find your voice. Build connections, word by word. Keep writing until you can.

(Also, get yourself a subscription to Guitar World. It will feed your inner artist.)

(Roman Holiday’s THE LONG WAY HOME, my anthem and TRACKED’s theme song, btw.)

This past week has been amazing, and I’ve been heartened by all the well wishes about TRACKED, but something’s been gnawing at me.

I didn’t do this alone.

I wrote a book, sure. I set out on a journey, but all along the way, there were people who picked me up when I fell down or got insufferably weary or couldn’t see my way through. There were people who carried me.

• My husband, Chris, who always, always encouraged my crazy dream and put strong arms around me, protecting me from the relentless monster of self-doubt. When I thought about giving up, he bought me a Macbook and Scrivener. When I vowed to quit, the week before I sold, he told me I couldn’t, no way, no how.
• My incredible agent Sara Crowe, who is tireless and responsive and so capable and kind. She is my champion, a true rock star agent who believed in me even when I couldn’t.
• My editor Heather Alexander, the fiercely cool Penguin who saw something in Phee, my Han Solo girl, and took a chance on her.
• My best friends Caron and Rosemary and Candy and Sally and Alex and Kate and Amber, and everyone at DFW Workshop who read book after book and who were never too busy to encourage or spur me on.
• My family, who didn’t laugh when I said I wanted to be a writer, especially my father, who’s been with me the whole way, vicariously chasing the dream, getting just as choked up as his sentimental daughter.
• My writing friends, online and off, who have been comrades in arms–Kendra and Bryan and Erin and April and Claire and Jamie and PJ and Janet and Julie and Lindsay and the Austin Girls and the Houston Horde and the DC Mafia so many, many more. If you’re reading this, the odds are good that you belong on this list, too. I haven’t forgotten that.
• My first agent, Mary, who taught me so much, when I was just an embryo writer, still trying to find my voice.
• Lastly, the infamous, mercurial Mr. Happenstance, who taught me that a good deal of luck–finding the right person at the right time–can make all the difference.

Thank you. Thank you for kicking me in the butt and inspiring me with your brilliance and saying kind things and tweeting me up. I can’t tell you enough how grateful and lucky that makes me feel. You’ve allowed me to be ridiculous and maudlin and silly, and now I get to celebrate and give you presents! So stay tuned, people of awesome, because I am already cooking up a MONSTER GIVEAWAY with lots of insanely rad prizes–a menagerie of carefully curated ‘must haves’ I know you’ll wantsssss, PRECIOUSSSSSS.

Until then, tell me. I’d love to hear about the people who carry YOU.

(Roman Holiday’s THE LONG WAY HOME, my anthem and TRACKED’s theme song, btw.)

This past week has been amazing, and I’ve been heartened by all the well wishes about TRACKED, but something’s been gnawing at me.

I didn’t do this alone.

I wrote a book, sure. I set out on a journey, but all along the way, there were people who picked me up when I fell down or got insufferably weary or couldn’t see my way through. There were people who carried me.

• My husband, Chris, who always, always encouraged my crazy dream and put strong arms around me, protecting me from the relentless monster of self-doubt. When I thought about giving up, he bought me a Macbook and Scrivener. When I vowed to quit, the week before I sold, he told me I couldn’t, no way, no how.
• My incredible agent Sara Crowe, who is tireless and responsive and so capable and kind. She is my champion, a true rock star agent who believed in me even when I couldn’t.
• My editor Heather Alexander, the fiercely cool Penguin who saw something in Phee, my Han Solo girl, and took a chance on her.
• My best friends Caron and Rosemary and Candy and Sally and Alex and Kate and Amber, and everyone at DFW Workshop who read book after book and who were never too busy to encourage or spur me on.
• My family, who didn’t laugh when I said I wanted to be a writer, especially my father, who’s been with me the whole way, vicariously chasing the dream, getting just as choked up as his sentimental daughter.
• My writing friends, online and off, who have been comrades in arms–Kendra and Bryan and Erin and April and Claire and Jamie and PJ and Janet and Julie and Lindsay and the Austin Girls and the Houston Horde and the DC Mafia so many, many more. If you’re reading this, the odds are good that you belong on this list, too. I haven’t forgotten that.
• My first agent, Mary, who taught me so much, when I was just an embryo writer, still trying to find my voice.
• Lastly, the infamous, mercurial Mr. Happenstance, who taught me that a good deal of luck–finding the right person at the right time–can make all the difference.

Thank you. Thank you for kicking me in the butt and inspiring me with your brilliance and saying kind things and tweeting me up. I can’t tell you enough how grateful and lucky that makes me feel. You’ve allowed me to be ridiculous and maudlin and silly, and now I get to celebrate and give you presents! So stay tuned, people of awesome, because I am already cooking up a MONSTER GIVEAWAY with lots of insanely rad prizes–a menagerie of carefully curated ‘must haves’ I know you’ll wantsssss, PRECIOUSSSSSS.

Until then, tell me. I’d love to hear about the people who carry YOU.

(Roman Holiday’s THE LONG WAY HOME, my anthem and TRACKED’s theme song, btw.)

This past week has been amazing, and I’ve been heartened by all the well wishes about TRACKED, but something’s been gnawing at me.

I didn’t do this alone.

I wrote a book, sure. I set out on a journey, but all along the way, there were people who picked me up when I fell down or got insufferably weary or couldn’t see my way through. There were people who carried me.

• My husband, Chris, who always, always encouraged my crazy dream and put strong arms around me, protecting me from the relentless monster of self-doubt. When I thought about giving up, he bought me a Macbook and Scrivener. When I vowed to quit, the week before I sold, he told me I couldn’t, no way, no how.
• My incredible agent Sara Crowe, who is tireless and responsive and so capable and kind. She is my champion, a true rock star agent who believed in me even when I couldn’t.
• My editor Heather Alexander, the fiercely cool Penguin who saw something in Phee, my Han Solo girl, and took a chance on her.
• My best friends Caron and Rosemary and Candy and Sally and Alex and Kate and Amber, and everyone at DFW Workshop who read book after book and who were never too busy to encourage or spur me on.
• My family, who didn’t laugh when I said I wanted to be a writer, especially my father, who’s been with me the whole way, vicariously chasing the dream, getting just as choked up as his sentimental daughter.
• My writing friends, online and off, who have been comrades in arms–Kendra and Bryan and Erin and April and Claire and Jamie and PJ and Janet and Julie and Lindsay and the Austin Girls and the Houston Horde and the DC Mafia so many, many more. If you’re reading this, the odds are good that you belong on this list, too. I haven’t forgotten that.
• My first agent, Mary, who taught me so much, when I was just an embryo writer, still trying to find my voice.
• Lastly, the infamous, mercurial Mr. Happenstance, who taught me that a good deal of luck–finding the right person at the right time–can make all the difference.

Thank you. Thank you for kicking me in the butt and inspiring me with your brilliance and saying kind things and tweeting me up. I can’t tell you enough how grateful and lucky that makes me feel. You’ve allowed me to be ridiculous and maudlin and silly, and now I get to celebrate and give you presents! So stay tuned, people of awesome, because I am already cooking up a MONSTER GIVEAWAY with lots of insanely rad prizes–a menagerie of carefully curated ‘must haves’ I know you’ll wantsssss, PRECIOUSSSSSS.

Until then, tell me. I’d love to hear about the people who carry YOU.

Guys.

GUYS. I AM HAVING AN UGLY CRY ABOUT POSTING THIS AND I AM STILL IN SHOCK AND I CAN’T STOP SHOUTING IN RANDOM CAPS-LOCKY WAY BECAUSE…

My agent sold my debut. Our first book deal. 

(C’mon. I know you want to sing along with me.)

I can’t believe this is happening. And if you are my twitter friend, or my IRL friend, or my I-haven’t-met-you-yet friend, you may or may not know how daunting and scary and wonderful my writing journey has been so far. Whatever the case, thank you for sharing this moment with me. I love you for it. I would hug you very tightly right now, if you were here. I would ugly cry on your shoulder, and you would get impatient and tell me to stop being so maudlin and so silly, and I would listen to you. But just for a minute. Then I would start acting like a sentimental nincompoop again because…

One of my childhood dreams is coming true. I WRITE BOOKS AND SOMEONE BELIEVES IN THEM AND SOMEONE WANTS TO PUT THEM OUT INTO THE WORLD. I AM A PENGUIN.

I am so incredibly happy and lucky to be able to write that. I have so many people to thank (My family! My fabulous agent, Sara! My dream editor, Heather!). I have presents to give. I have (not very) gory details to share. But that is another post, one I’ll be writing soon. For now, thank you for reading this and being my any kind of friend. It means a lot to me.

TODAY

TOMORROW

Guys.

GUYS. I AM HAVING AN UGLY CRY ABOUT POSTING THIS AND I AM STILL IN SHOCK AND I CAN’T STOP SHOUTING IN RANDOM CAPS-LOCKY WAY BECAUSE…

My agent sold my debut. Our first book deal. 

(C’mon. I know you want to sing along with me.)

I can’t believe this is happening. And if you are my twitter friend, or my IRL friend, or my I-haven’t-met-you-yet friend, you may or may not know how daunting and scary and wonderful my writing journey has been so far. Whatever the case, thank you for sharing this moment with me. I love you for it. I would hug you very tightly right now, if you were here. I would ugly cry on your shoulder, and you would get impatient and tell me to stop being so maudlin and so silly, and I would listen to you. But just for a minute. Then I would start acting like a sentimental nincompoop again because…

One of my childhood dreams is coming true. I WRITE BOOKS AND SOMEONE BELIEVES IN THEM AND SOMEONE WANTS TO PUT THEM OUT INTO THE WORLD. I AM A PENGUIN.

I am so incredibly happy and lucky to be able to write that. I have so many people to thank (My family! My fabulous agent, Sara! My dream editor, Heather!). I have presents to give. I have (not very) gory details to share. But that is another post, one I’ll be writing soon. For now, thank you for reading this and being my any kind of friend. It means a lot to me.

TODAY

TOMORROW

Guys.

GUYS. I AM HAVING AN UGLY CRY ABOUT POSTING THIS AND I AM STILL IN SHOCK AND I CAN’T STOP SHOUTING IN RANDOM CAPS-LOCKY WAY BECAUSE…

My agent sold my debut. Our first book deal. 

(C’mon. I know you want to sing along with me.)

I can’t believe this is happening. And if you are my twitter friend, or my IRL friend, or my I-haven’t-met-you-yet friend, you may or may not know how daunting and scary and wonderful my writing journey has been so far. Whatever the case, thank you for sharing this moment with me. I love you for it. I would hug you very tightly right now, if you were here. I would ugly cry on your shoulder, and you would get impatient and tell me to stop being so maudlin and so silly, and I would listen to you. But just for a minute. Then I would start acting like a sentimental nincompoop again because…

One of my childhood dreams is coming true. I WRITE BOOKS AND SOMEONE BELIEVES IN THEM AND SOMEONE WANTS TO PUT THEM OUT INTO THE WORLD. I AM A PENGUIN.

I am so incredibly happy and lucky to be able to write that. I have so many people to thank (My family! My fabulous agent, Sara! My dream editor, Heather!). I have presents to give. I have (not very) gory details to share. But that is another post, one I’ll be writing soon. For now, thank you for reading this and being my any kind of friend. It means a lot to me.

TODAY

TOMORROW

Writing friends, I just gave up. Completely surrendered.

Again.

And you know what? It felt great. I’ll probably do it again tomorrow. And the next day, too.

I see the confusion on your face. Surrender?? Gave up on what???

Stuff I have no control over. Factors outside my influence. The immoveable metric ton of tricksy particulars I keep trying to shoulder. Pesky things like:

–the economy

–market and genre trends

–shifting state of the publishing industry

–today’s seven figure deal for the latest self-published/YA/fanfic/erotica/BDSM/OCD/PTSD/STFU phenom

–three day auctions

–past failures

–past revisions

–past mistakes
–present learning curve

–rejection

–silence

–editorial taste

–editorial lists

–acquisitions meetings

–editorial boards

–the submission process

–submission response times

–NYC weather

–THE SPEED OF LIGHT

Maybe your list is different. Maybe you’re querying agents or staring at your debut’s book cover or sobbing over your last royalty statement. But I bet you have a list. Take a good hard look at it, and ask yourself if you’re like me, a writer who needs to put her hands up and say…

I am not psychic. I am not a special snowflake. I am not superman, yet I am not immune to kryptonite. I am just a girl, sitting in a red chair, typing some words. I am just trying to tell a story, the best way that I can. I can control the words. I can’t control the rest. The rest will not cripple or paralyze or smother the joy I find in words. Yesterday and today and tomorrow.  Amen.

Surrender is sweet. I highly recommend it.

Writing friends, I just gave up. Completely surrendered.

Again.

And you know what? It felt great. I’ll probably do it again tomorrow. And the next day, too.

I see the confusion on your face. Surrender?? Gave up on what???

Stuff I have no control over. Factors outside my influence. The immoveable metric ton of tricksy particulars I keep trying to shoulder. Pesky things like:

–the economy

–market and genre trends

–shifting state of the publishing industry

–today’s seven figure deal for the latest self-published/YA/fanfic/erotica/BDSM/OCD/PTSD/STFU phenom

–three day auctions

–past failures

–past revisions

–past mistakes
–present learning curve

–rejection

–silence

–editorial taste

–editorial lists

–acquisitions meetings

–editorial boards

–the submission process

–submission response times

–NYC weather

–THE SPEED OF LIGHT

Maybe your list is different. Maybe you’re querying agents or staring at your debut’s book cover or sobbing over your last royalty statement. But I bet you have a list. Take a good hard look at it, and ask yourself if you’re like me, a writer who needs to put her hands up and say…

I am not psychic. I am not a special snowflake. I am not superman, yet I am not immune to kryptonite. I am just a girl, sitting in a red chair, typing some words. I am just trying to tell a story, the best way that I can. I can control the words. I can’t control the rest. The rest will not cripple or paralyze or smother the joy I find in words. Yesterday and today and tomorrow.  Amen.

Surrender is sweet. I highly recommend it.

Writing friends, I just gave up. Completely surrendered.

Again.

And you know what? It felt great. I’ll probably do it again tomorrow. And the next day, too.

I see the confusion on your face. Surrender?? Gave up on what???

Stuff I have no control over. Factors outside my influence. The immoveable metric ton of tricksy particulars I keep trying to shoulder. Pesky things like:

–the economy

–market and genre trends

–shifting state of the publishing industry

–today’s seven figure deal for the latest self-published/YA/fanfic/erotica/BDSM/OCD/PTSD/STFU phenom

–three day auctions

–past failures

–past revisions

–past mistakes
–present learning curve

–rejection

–silence

–editorial taste

–editorial lists

–acquisitions meetings

–editorial boards

–the submission process

–submission response times

–NYC weather

–THE SPEED OF LIGHT

Maybe your list is different. Maybe you’re querying agents or staring at your debut’s book cover or sobbing over your last royalty statement. But I bet you have a list. Take a good hard look at it, and ask yourself if you’re like me, a writer who needs to put her hands up and say…

I am not psychic. I am not a special snowflake. I am not superman, yet I am not immune to kryptonite. I am just a girl, sitting in a red chair, typing some words. I am just trying to tell a story, the best way that I can. I can control the words. I can’t control the rest. The rest will not cripple or paralyze or smother the joy I find in words. Yesterday and today and tomorrow.  Amen.

Surrender is sweet. I highly recommend it.

If you’re a writer, you’ve probably heard “Show, Don’t Tell’ a million times. It’s one of those maxims you can’t escape. But I’m going to stick my neck out and declare…

I think that advice has led to a lot of really terrible writing.

Before you come at me with your sharpest pitchfork, let me explain my madness. I do believe, in many ways, it is good and useful and wise to ‘show’ things. There is a time and place for the camera pan, the action shot, the external focus. But a novel is not a screenplay. A movie is a string of external cues–visuals and sound–that tells a story. The viewer relies on these cues to make sense of the plot and all its underpinnings–the internal, intangibles such as emotion and theme.

The novel is an entirely different medium. A novel conjures a singular experience, not just through external description (what a camera can capture), but also by internal perception (the heart and soul an ordinary telephoto zoom can’t record). In a novel, there’s a lens that trumps all.

The human lens.

The fictive stream of consciousness. The thingamathink that pulls us under the skin of a character. The internal processor that that recalls events and interprets every moment of action in the context of a character’s deepest hopes, dreams, memories and fears.

Yet...motivated by well-intentioned advice, so many writers neglect this lens and start out writing novels like screenplays. They try to live by ‘show’ alone–moving characters here and there on a stage, describing everything in objective, surface-level terms the way a wide-angle camera shot would. This cheats the reader and sentences them to a parade of colorless, cliched gestures and descriptions.

John’s eyes widened in anxiety. Mary’s heart hammered. Glen’s jaw clenched. Raul’s brow quirked. Anna’s lips curled in a smirk. Neville clenched his fists at his sides. Snakes slithered in Jonah’s stomach.

Ugh. These gestures and reactions are all generic. They illuminate nothing about character, personality, conflict or plot. As Francine Prose so aptly writes in Reading Like a Writer, “they are not descriptions of an individual’s very particular response to a particular event, but rather a shorthand for common psychic states.”

Meaningless shorthand. Yes. But darn it, they show and don’t tell. And that’s the rule, right?

WRONG. WRONG. WRONG.

I am nothing more than an puny, unpublished, unknown Writer/Librarian/Beatle-Maniac, but I will not recant. I will not! Because writing fiction is a form of storyTELLING. I agree with Joshua Henkin when he calls ‘Show, Don’t Tell’ the ‘great lie of writing workshops.‘ I say go ahead and slip under that murderer’s/ballerina’s/magician’s/vampire’s skin, tap into that stream of consciousness and TELL that story, infusing

If you’re a writer, you’ve probably heard “Show, Don’t Tell’ a million times. It’s one of those maxims you can’t escape. But I’m going to stick my neck out and declare…

I think that advice has led to a lot of really terrible writing.

Before you come at me with your sharpest pitchfork, let me explain my madness. I do believe, in many ways, it is good and useful and wise to ‘show’ things. There is a time and place for the camera pan, the action shot, the external focus. But a novel is not a screenplay. A movie is a string of external cues–visuals and sound–that tells a story. The viewer relies on these cues to make sense of the plot and all its underpinnings–the internal, intangibles such as emotion and theme.

The novel is an entirely different medium. A novel conjures a singular experience, not just through external description (what a camera can capture), but also by internal perception (the heart and soul an ordinary telephoto zoom can’t record). In a novel, there’s a lens that trumps all.

The human lens.

The fictive stream of consciousness. The thingamathink that pulls us under the skin of a character. The internal processor that that recalls events and interprets every moment of action in the context of a character’s deepest hopes, dreams, memories and fears.

Yet...motivated by well-intentioned advice, so many writers neglect this lens and start out writing novels like screenplays. They try to live by ‘show’ alone–moving characters here and there on a stage, describing everything in objective, surface-level terms the way a wide-angle camera shot would. This cheats the reader and sentences them to a parade of colorless, cliched gestures and descriptions.

John’s eyes widened in anxiety. Mary’s heart hammered. Glen’s jaw clenched. Raul’s brow quirked. Anna’s lips curled in a smirk. Neville clenched his fists at his sides. Snakes slithered in Jonah’s stomach.

Ugh. These gestures and reactions are all generic. They illuminate nothing about character, personality, conflict or plot. As Francine Prose so aptly writes in Reading Like a Writer, “they are not descriptions of an individual’s very particular response to a particular event, but rather a shorthand for common psychic states.”

Meaningless shorthand. Yes. But darn it, they show and don’t tell. And that’s the rule, right?

WRONG. WRONG. WRONG.

I am nothing more than an puny, unpublished, unknown Writer/Librarian/Beatle-Maniac, but I will not recant. I will not! Because writing fiction is a form of storyTELLING. I agree with Joshua Henkin when he calls ‘Show, Don’t Tell’ the ‘great lie of writing workshops.‘ I say go ahead and slip under that murderer’s/ballerina’s/magician’s/vampire’s skin, tap into that stream of consciousness and TELL that story, infusing every moment that matters with personality and voice.

And if you still aren’t ready to drop your pitchfork, please look at these ‘show vs. tell’ examples before you skewer me:

Showing only (Excerpt altered. All telling parts omitted/edited):

“We just stand there silently. The grimy little station comes into view. The platform’s thick with cameras.
Peeta extends his hand. I look at him. ‘One more time? For the audience?’ he says. I take his hand, holding on tightly.”

Showing with Physical Gestures: (Excerpt altered. Telling parts omitted/edited and replaced with physical gestures/reaction):

“My stomach twists into knots. We just stand there silently. The grimy little station comes into view. The platform’s thick with cameras. When Peeta extends his hand, my eyes widen. ‘One more time? For the audience?’ he says, his jaw relaxing. I take his hand, holding on tightly. A shiver of dread runs down my spine.”

Showing and Telling (Excerpt as published, unaltered):

“I also want to tell him how much I already miss him. But that wouldn’t be fair on my part.

So we just stand there silently, watching our grimy little station rise up around us. Through the window, I can see the platform’s thick with cameras. Everyone will be watching our homecoming.

Out of the corner of my eye, I see Peeta extend his hand. I look at him, unsure. ‘One more time? For the audience?’ he says. His voice isn’t angry. It’s hollow, which is worse. Already the boy with the bread is slipping away from me. I take his hand, holding on tightly, preparing for cameras, and dreading the moment when I will finally have to let go.”

–Suzanne Collins, THE HUNGER GAMES

I think writers need to so show and tell. Still disagree? Did I miss something? Have I forgotten an important point? I’ve braced for impact, so fire away!

If you’re a writer, you’ve probably heard “Show, Don’t Tell’ a million times. It’s one of those maxims you can’t escape. But I’m going to stick my neck out and declare…

I think that advice has led to a lot of really terrible writing.

Before you come at me with your sharpest pitchfork, let me explain my madness. I do believe, in many ways, it is good and useful and wise to ‘show’ things. There is a time and place for the camera pan, the action shot, the external focus. But a novel is not a screenplay. A movie is a string of external cues–visuals and sound–that tells a story. The viewer relies on these cues to make sense of the plot and all its underpinnings–the internal, intangibles such as emotion and theme.

The novel is an entirely different medium. A novel conjures a singular experience, not just through external description (what a camera can capture), but also by internal perception (the heart and soul an ordinary telephoto zoom can’t record). In a novel, there’s a lens that trumps all.

The human lens.

The fictive stream of consciousness. The thingamathink that pulls us under the skin of a character. The internal processor that that recalls events and interprets every moment of action in the context of a character’s deepest hopes, dreams, memories and fears.

Yet...motivated by well-intentioned advice, so many writers neglect this lens and start out writing novels like screenplays. They try to live by ‘show’ alone–moving characters here and there on a stage, describing everything in objective, surface-level terms the way a wide-angle camera shot would. This cheats the reader and sentences them to a parade of colorless, cliched gestures and descriptions.

John’s eyes widened in anxiety. Mary’s heart hammered. Glen’s jaw clenched. Raul’s brow quirked. Anna’s lips curled in a smirk. Neville clenched his fists at his sides. Snakes slithered in Jonah’s stomach.

Ugh. These gestures and reactions are all generic. They illuminate nothing about character, personality, conflict or plot. As Francine Prose so aptly writes in Reading Like a Writer, “they are not descriptions of an individual’s very particular response to a particular event, but rather a shorthand for common psychic states.”

Meaningless shorthand. Yes. But darn it, they show and don’t tell. And that’s the rule, right?

WRONG. WRONG. WRONG.

I am nothing more than an puny, unpublished, unknown Writer/Librarian/Beatle-Maniac, but I will not recant. I will not! Because writing fiction is a form of storyTELLING. I agree with Joshua Henkin when he calls ‘Show, Don’t Tell’ the ‘great lie of writing workshops.‘ I say go ahead and slip under that murderer’s/ballerina’s/magician’s/vampire’s skin, tap into that stream of consciousness and TELL that story, infusing every moment that matters with personality and voice.

And if you still aren’t ready to drop your pitchfork, please look at these ‘show vs. tell’ examples before you skewer me:

Showing only (Excerpt altered. All telling parts omitted/edited):

“We just stand there silently. The grimy little station comes into view. The platform’s thick with cameras.
Peeta extends his hand. I look at him. ‘One more time? For the audience?’ he says. I take his hand, holding on tightly.”

Showing with Physical Gestures: (Excerpt altered. Telling parts omitted/edited and replaced with physical gestures/reaction):

“My stomach twists into knots. We just stand there silently. The grimy little station comes into view. The platform’s thick with cameras. When Peeta extends his hand, my eyes widen. ‘One more time? For the audience?’ he says, his jaw relaxing. I take his hand, holding on tightly. A shiver of dread runs down my spine.”

Showing and Telling (Excerpt as published, unaltered):

“I also want to tell him how much I already miss him. But that wouldn’t be fair on my part.

So we just stand there silently, watching our grimy little station rise up around us. Through the window, I can see the platform’s thick with cameras. Everyone will be watching our homecoming.

Out of the corner of my eye, I see Peeta extend his hand. I look at him, unsure. ‘One more time? For the audience?’ he says. His voice isn’t angry. It’s hollow, which is worse. Already the boy with the bread is slipping away from me. I take his hand, holding on tightly, preparing for cameras, and dreading the moment when I will finally have to let go.”

–Suzanne Collins, THE HUNGER GAMES

I think writers need to so show and tell. Still disagree? Did I miss something? Have I forgotten an important point? I’ve braced for impact, so fire away!

Thanks to an idea from Steph Pellegrin and PJ Hoover, today is all about sweet bites and decadent reads. So without further ado, I give you my #DESSERTEDREADS matchup:

WICKED AS THEY COME by Delilah S. Dawson

Flap copy:

When Tish Everett forces open the ruby locket she finds at an estate sale, she has no idea that a deliciously rakish Bludman has cast a spell just for her. She wakes up in a surreal world, where Criminy Stain, the dashing proprietor of a magical traveling circus, curiously awaits. At Criminy’s electric touch, Tish glimpses a tantalizing future, but she also foresees her ultimate doom. Before she can decide whether to risk her fate with the charming daredevil, the locket disappears, and with it, her only chance to return home. Tish and Criminy battle roaring sea monsters and thundering bludmares, vengeful ghosts and crooked Copers in a treacherous race to recover the necklace from the evil Blud-hating Magistrate. But if they succeed, will Tish forsake her fanged suitor and return to her normal life, or will she take a chance on an unpredictable but dangerous destiny with the Bludman she’s coming to love?

Okay guys, I’m such a picky reader. Nine times out of ten, I pick up a book and toss it aside within the first fifty pages. No high concept premise, no hunky stranger keeps me reading if the writing somehow isn’t there. I’m also a bit idiosyncratic–an author has to push particular emotional buttons to keep me turning pages.

And boy, oh boy, WICKED AS THEY COME  pushed all those buttons and never let up. To say WICKED AS THEY COME resonated with me is an understatement. I read the book in one sitting, grinning all the way.  The moment Tish met Criminy Stain, I was hooked. I didn’t care what happened, as long those kept circling one another.

Tish is everything I want a heroine to be, a gal who inherited a winsome mix of ‘manners and moxie’ from her high-spirited grandmother. No wonder the locket pulled her to Criminy’s world. He cast a spell to summon his soulmate and equal, and she certainly fits the bill.

And ohhhhh, Criminy. Bludman. Gypsy King. Magician. Seductive, Sinful Smart-Aleck Savant. He’s irresistible, yet never forces his suit. For me, that makes Crim the perfect alpha male–the charmer who doesn’t make demands, but lets his best qualities command the moment. Yes, pulls out all the stops to allure Tish, but he leaves the choice to her. As he watches her and waits for her to discover her heart’s true match, the tension builds and builds. I loved every minute of it.

And I love sharing this recipe with you–BLACK MAGIC CAKE is every bit as sweet and sinful.

There are EIGHT MILKY WAY BARS in the batter of this cake. What else do you need to know?????!!!!

4 Comments on #DESSERTEDREADS: Wicked as They Come + Black Magic Cake, last added: 6/23/2012