Re-reading

I haven’t been reading very many new books recently. I’ve just been way more interested in revisiting stories I’ve already read through. I’ve acquired new books (or as is more likely the case, second-hand books which I haven’t read before), and just not found much reason to delve into them.

I try and analyse why I feel this way. There’s a lot to be said for already knowing I enjoy a story. I guess as I feel like reading time is some pretty prime real estate in my daily life, I don’t always want to use that time on a book that I may not love at the end of it all. When I re-read a story, it’s because I remember just enough of it that I know I will feel great about it afterwards.

I’ve never been one of those people who remembers a book really thoroughly, and that serves me extra well when I take to re-reading. I know the general gist of the story, but there are still parts that I don’t remember until I’m reading it again. Even in my most favourite book, which has been given well over twenty read-throughs, still gives me entertainment from my poor memory for details.

Of the new books I have read, I’ve enjoyed all of them. They’ve all been awesome, so the investment was well worth it. I don’t know why I am so hesitant to give the other books a chance, since there have been very few books in my life that I have actively disliked.

I think part of it, too, is that I love to re-read stories and see what makes them work. Why do I like it, how does the writer do it, what makes this story successful? Re-reading gives me new perspectives on books, because the first read-through is almost entirely for my enjoyment of a story. I don’t tear them apart until I already know what happens. So maybe my desire to read old books stems more from a desire to learn about the craft, even when that isn’t my total conscious decision.

Whatever the case, it’s always nice to meet up with old friends in good stories, and enjoy their tale once more.

~A

Goodbye physical bookstore, we loved you

Everyone already knows that certain big-name bookstores are closing down. What a sad state of affairs. This post was originally in response to the beautiful Julia Munroe Martin of wordsxo, but the reply got so long, I figured I’d just turn it into tonight’s rant! You can see her entry, then read on. Borders: It’s Personal

Part of the problem is, big chain bookstores have so much extra to factor into costs at the get-go. Rent/property tax, utilities for the big store front, employees both on the floor and out of sight. But the nasty part is the profit margin they are expected to turn, because that becomes mark-up for the consumer to bear.

In this day and age, we know what kind of money is going back to the writer, and their agent, and the editor at the publishing house. The publishing execs make their profit (for themselves and the stockholders). Then there’s the workers at the print factory, the binders, the general production costs. We know that half the work at a publishing house is done by unpaid interns. We know that the bosses are looking at that profit margin, no matter which company it’s going through. At every stop, someone is adding that little extra, but once you reach an actual store, their “little extra” heads upwards in ways that are no longer fair to the average consumer.

Who can afford new books from big chains anymore? I’m not going to buy e-books exclusively when I finally get an e-reader (I will always want a physical copy), but the cost is a very real factor. If the writer, the person whose creation you’re reading, is finally able to get a better cut of the cake, that’s a good direction for us to be stepping.

But electronic media is by nature very non-capitalist; a computer file is infinitely reproducible at negligible cost, so what are we really paying for? There is the stipend to the writer, as a thanks for their creative work, and to cover the costs they incurred while writing and editing and hiring an artist to make some very nice cover art. Then even by buying through online stores, we pay to keep that store online (staff, bandwidth, their office overheads). But they don’t need a big, expensive store front, with high-exposure to a main road. They don’t need nice carpets or a flashy sign out front. They can sit in their respectably comfortable offices and still provide us with the same end product, for less cost to us.

If we were able to drag our society away from the superficial appearance-driven stores that cost so much to run, would they remain viable businesses? Or would the top-tiers of each company still drive the cost outside of a profitable range at all? An e-book ultimately isn’t a superior product to an actual paper print, though it has considerable advantages (and don’t get me started on the paper industry, we will be here all night). I think the physical book, and indeed the physical bookstore will persist beyond this electronic age, but they need to grow and adapt.

~A

Most obvious observation ever

There isn’t actually a “right” way to write. Even spelling, grammar and punctuation can be massacred for the appropriate reasons. Half of the characters in the Redwall series speak with an accent so heavy, Brian Jacques just made up his own spelling. Stephen King has a short story in Nightmares and Dreamscapes where the mental and physical capacity of a character degenerates to the point that his retelling of events becomes indecipherable gibberish. It’s my favourite story in the collection and never fails to make me cry.

Then there is slang and invented language, which doesn’t have any fair rules to break. It’s true that using slang or modern language will “date” a story, but so does proper terminology. I have been accused far too many times of writing, and also speaking, with archaic words, like they can somehow lose their meaning given enough time? I suppose so, but communication is all shaky ground anyway.

Things like this are the reason why so many people say rules were made to be broken. Because there’s always at least one instance of where a cardinal rule has been so completely disregarded with such amazing skill that you can’t imagine that work being written any other way. If there’s no clearly defined “right” way to throw words at a page, how do we know when we’re doing a good job?

Different people want different things from their reading. Some people like ongoing description that tells you every last thing about a place. I once counted twelve consecutive pages in a book solely of description regarding the landscape and farming in the locale, and absolutely nothing happened in all that time except a lot of info-dumping. This was in a very popular and successful author’s book, too. So some people like it when you’re wordy and droning. Others like sharp, fast-paced writing, where the sentences are short and punchy and there’s no real downtime in the story.

Each genre also has quirks that make a story “suit” the general target audience. Where you might be able to get away with a rushed description of a character in one genre because other things are more important to the story, you could find another genre that practically requires lengthy, gushing language about the people in the book.

So I come back to the question, how do we know when we’re doing it right? Take a look at any top selling books list and you’ll find titles such as The Lord of the Rings, The Da Vinci Code, Nineteen Eighty-Four, Gone With the Wind, The Chronicles of Narnia, And Then There Were None, Black Beauty, Twilight, Harry Potter, To Kill a Mockingbird, The Wheel of Time, Lolita, Discworld, it goes on and on. What do these stories have in common, beside being written works? They are vastly different books with varying degrees of appeal to every individual. They all did something right, but that right thing for each story (or series) was almost unique to itself.

~A

Surprise, this is what you’re writing now

I have been absolutely consumed by a new story.

I was doing so well! A strong start on book two of the novella series, getting through a quick edit on book one, then all of a sudden I’m just hit with this idea. It came to me almost fully-formed, ready to go. Characters popped out of nowhere, with flawless interaction, solid personalities and reason for being. I kept interrupting work to write parts of it, and as soon as I arrived home, I got right back into it.

At this stage, from what I can tell, it’s probably another short story. Horror, maybe a little more “typical” than my other horror works, which tend to be very psychological with minimal blood and gore. I don’t know an approximate word count yet, but I’m hoping it won’t take too long to write. I was genuinely enjoying the novellas. The characters in that series are really exciting to write about, and there is so much potential. This, though… this is just stuck in my head, and I’m certainly not going to let it go to waste by working around it, even if I am somewhat torn between my stories.

There’s a good chance that I’ll write part of the story and come to a point where I don’t need to continue right away; there are plenty of others in my project list that have taken that route. Of course, with it already started, I shouldn’t have any trouble coming back to it at a later date to finish it off. On the other hand, I might just be stuck with the idea until I’ve written it all out.

One of the funniest things about this story? The characters came to me with names already, all except the main character. I have no idea what his name is. Maybe it will never be revealed. Maybe he is to remain nameless. We will have to see as it all pans out.

~A

The story of names

To lead off with, I completed the full first draft of my fantasy novella, currently known as TDM, sometime late Sunday. I am super pleased with having it finished, and I’ve jumped straight into writing the draft of its sequel/series-mate because I am so enthusiastic about this collective piece!

[Side note: I haven’t been able to update Facebook at all since Saturday, so that explains my sudden silence/lack of updates!]

If you’ve seen my projects list (found on the Ashlee’s Writing page), you might notice that some of the abbreviated names have changed. This is a large part of why I don’t list the projects by their full titles; when they are a work in progress or even just planning stages, the name of the story can change in a snap. Book two, now AEN, didn’t have a firm title until yesterday, and the name itself will help shape the direction the story goes (it fills in a small but significant detail).

In traditional publishing, it’s pretty commonly known that the author’s chosen title can change. That was always one of the things that concerned me about eventually shopping my work around. They say don’t get too attached to the name, but the name of a thing is a very important aspect of its whole. And frankly, I know of more than enough books which have been printed with pretty terrible names (and worse covers), so I can’t imagine the industry as a whole is that much better at naming than I am.

Character and place names are also significant, and can take a lot of work to get right. Sometimes when I’m writing these fantasy stories, I get really nervous that my naming treads are getting… you know, too “fantasy”. What kind of notion is that! I know that I’m generally very reasonable about creating names, too, but when my main character ends up with something four syllables long, I worry that others might see it and think, “wow, that’s really clichéd”. But it suits her. And after 40,000 words with her, it feels completely natural.

But the concern is there, and I admit that. When you’re creating locations, mythical races, and people who wield magic, some names fit, and some don’t. I’m the kind of person that puts heaps of thought into the naming of things. The spelling, the way it’s pronounced, how the name looks in text, it’s all taken into consideration. This goes for all names. Book titles, people, whatever needs its own proper noun.

I still haven’t settled on a name for the whole series, either!

~A