Note to Self: Speaking vs Communicating

A while back I picked up a Regency romance when the author briefly made it a freebie on Amazon.  As I've said previously, I had been attempting to classify My Father's Son and considered Regency Romance a probable genre.  (wrong wrong wrong)  I still haven't finished that book.   More still, I've read no fewer than 23 other books since I downloaded it.

The huge problem with this book (other than totally ignoring several social mores and the egregious consequences of flouting them) is the language.  The writer aims for Austen-esque language and way overshoots the mark.  And, I know it's not just me, because my #3 DIL kept reading passages to me out loud while she perused it on my Android.  (I really did want to know if it was just me being persnickety.)

It's the same problem I've seen in other Regency romances.  People try so hard to sound authentic in their phraseology and vocabulary, dropping topical names and slang and verbage, their words cease to communicate.  They become hurdles for the reader, and, no matter the dexterity of the literary athlete, sooner or later they're going to tire out. I read this book only when I had nothing but my phone in my hands. The plot is interesting, but I just can't take it in large doses before I start tearing out my hair.

Note to Self: Face the Consequences

"The good ended happily and the bad ended unhappily. That is what fiction means." —Miss Prism in The Importance of Being Earnest by Oscar Wilde

It happened like this:  my current work in progress, My Father's Son, has a strong backdrop of true history, but I'm not certain if it can be classified as historical fiction.  I haven't taken a real person and true circumstances and humanized them out of the history books as did MM Bennetts in Of Honest Fame, or, created characters to orbit around historical figures as in Georgette Heyer's An Infamous Army.

Rather, I've come up with my own cast of characters caught up in sometimes fictional events (a brigade of black-ops attempting to broker a treaty with French Royalists), but real events in others (the Vienna conference, Napoleon's 100 days, the battle of Waterloo).  They stumble over, evade or work with Fouche, Talleyrand, Metternich, Castlereagh and Wellington.  Does that still qualify as historical fiction?  Or, would it be more accurate to call it historical romance?

And, then there's this whole other genre that I've been hearing more and more about:  Regency romance—"Regency" referring to the era when the Prince of Wales ruled in the stead of Mad King George, his father, from 1811 to 1820.  My series of stories centers in England, begins in 1809 and stretches out from there.  Would it be accurate to classify My Father's Son as a Regency romance?  Danged if I know.

Inspiration: Dredging Up Onisea

Back in 2007, when my #2 son got engaged, I wanted to get to know his affianced a little better.  This was problematic, as she and D2 were both at school at the time, 1100 miles away.  What's a mother-in-law to do (besides sign up for Facebook and toss sheep back and forth)?

At the same time, I was back-and-forthing with my young niece, Alena, who loves to write.  She was in seventh grade at the time, I think (and also 1100 miles away).  This was back when she wasn't too busy with high school, homework, marching band and a social life to hang with me, and we'd chat a lot on Google or Facebook.

I loved to encourage Alena's writing (I still do) and so we were playing a writing game.  She'd start a plot and write up to a pivotal point and then turn it over to me and I'd do the same.  It was fun.  We bonded.  I've never lived within 1100 miles of her, except for the summer she stayed a month with us, but she's in the top three of my multifarious nieces and nephews as far as mutual attachment is concerned.

Well, I knew that Lynda liked to write fantasy, which was one of the big things she and D2 had in common.  I liked to read fantasy, although I'd never tried to write any.  Given my success with Alena, I thought pooling our imaginations might work with Lynda as well.  You learn a lot about a person by the things they invent in their heads.  We could open a dialog.

Note to Self: It's the Story, Stupid!

Recently I've been asking myself this vital question:  am I a writer? or a storyteller?  I think the answer at this point is writer.  I want to be a storyteller.  But primarily, I want to be both.  Not all authors are.

One of my favorite adaptations of
Dickens' Oliver Twist

Let's face it.  Some of the best storytellers in the English language were deplorable writers.  Charles Dickens could not structure a sentence properly to save his life.  As an editor, I writhe in agony reading his grammar. I marvel that he got away with structuring his story arcs as he did, writing for periodicals notwithstanding.  But, as a storyteller, he was second to none.  He knew how to captivate, to compel, to reach into a person's gut, grab hold and twist—and leave them begging for more.

Note to Self: Never Underestimate the Value of a Good Editor

D2 (my #2 son) has accomplished something I never have.  He's received a rejection letter.  He wrote a very original piece of speculative fiction that I've never before seen treated, with some great ideas and choice humor.  Okay.  To be fair, I thought it was choice, as did his wife, Lynda.  His brother and sister-in-law thought not so much, but then, they don't "get" him like we do.  (Okay.  Nobody gets him like we do).  Still, D2's book was so him.  It was funny.  And thought-provoking.  And original.

But, it wasn't ready for publication or even a query letter, and he knows it.  He hasn't let the rejection from Thor discourage him.  He's considering rewriting it from scratch now that he's older and wiser.  He's just been too busy being a husband, father, and full-time post-graduate student to devote any time to his passion, writing.

Being his mother as I am, I want him to succeed.  I want the entire world to know how brilliant he is.  (Did I mention he's halfway through a second book that is absolutely fabulous?)  While I was driving to Austin with him a couple weeks back, we had a discussion about self-publishing.  It went something like this:

Note to Self: Somebody Always Notices

The Fatal Flaw

I read a book once with an interesting plot line (familiar premise but with plenty of originality in the treatment), likable characters, and wonderfully flawed protagonists with plenty of room for improvement.  The writer's style is fluid and very readable.  I have a terrible habit of picking apart grammar skills if the story fails to engage me.  However, this book drew me in and I escaped the plague of terminal editing.

Note To Self: Ambiance, Ambivalence or Ambush?

"My dear fellow, there are in fact only so many notes the ear can hear in the course of an evening."  Emperor Joseph to Mozart in Amadeus (Orion Pictures 1984)

The same can be said of words.

While this particular post is part of the "Lessons Robert Jordan Taught Me" series, my reading of the Wheel of Time has primarily reinforced what I've already learned on my own: sometimes, there is just too much information.

I first started writing The Famous Mrs. Darcy out of sheer boredom.  The problem was, I didn't really have a plot in my head, so I decided I would make up for Miss Austen's lack of contemporary detail and historicity.  I would make my story about the difficulty Lizzie had adjusting to her new life and Mr. Darcy's unyielding family and fill up my tome with lots of luscious locales, grand palaces and fancy clothes beautifully illustrated in a vivid pallet of words.  The end result was a disaster.  The atmosphere was so thick, you had to use a machete to hack your way through it.

Novel Sequels: the Sequel . . . and sequels and sequels

This is the first in my "Note To Self" seriesor Lessons Robert Jordan Taught Me.  The advantage of reading the same author through a large body of work, particularly marathon style, is that their writing style, habits, strengths, and idiosyncrasies all become very apparent.  I am currently about 20% through Knife of Dreams, Book 11 of The Wheel of Time Series.  That's more than 8,461 pages of content (yes, I did the math).  You can learn a lot about an author reading that much of their work, especially if you're hyper-critical, like me.

So, brilliant me that I am, I'm sharing a few of my observations. And, since I would never wish to malign the revered Mr. Jordan who is not only published and very popular but, well, dead, I'll use examples from my own writing to illustrate the point.  I have to say here that I greatly admire Robert Jordan.  He died with his boots on, as it were, a worthy goal to strive for.

Lesson #1:  Beware Character Creep

Writing for me is creating a world.  It starts out a tiny microcosm as first one and then another character is developed, as they interact with each other and as I, as a writer, get to know them.  (I don't develop characters so much as grow acquainted with who they are).  Then, as they move through the plot, they interact with more characters who in turn start to reveal their personalities, and with them their back stories, in an ever-expanding spiral.