What is Talent?

I quit a job years ago so I could write a novel — the sensitive and wise story of a love that transcended time and physical bonds. I sat down at my desk, pen in hand, and waited for the words to flow effortlessly from my subconscious, through my fingers, and onto the paper. I waited, and I waited. The paper remained blank.

I couldn’t understand the problem. I’d written poems and short stories, and even summoned the nerve to send one of my better efforts to Alfred Hitchcock Magazine, though they declined to print it.

(Since you asked: the story was about a guy on a train who got stuck sitting next to a smoker. He asked the smoker to put out the cigarette, and when the smoker refused, the guy shot him, proving that smoking really is hazardous to your health. This story may not make sense now, but I wrote it before the prohibition of smoking in public places.)

I thought that since the novel didn’t come effortlessly, didn’t come at all, I had no talent. Perhaps I didn’t. But what I didn’t know then is that by learning and perfecting the craft of writing, one can fake talent. Or maybe talent is perfecting one’s craft. Doesn’t matter. All I know is that now when I sit down to write, I do not expect the story to appear on paper by mental osmosis or as some form of automatic writing. I consciously choose every word. I consciously develop every character. I consciously create every scene. And when the novel is completed, I rewrite it, edit it, polish it. None of it comes effortlessly. But so what if it takes a year, two years, ten years to complete? The joy is in the process, in the effort.

What do you think talent is? Is it something you can learn, or is it innate?

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On Writing: Characters and Group Mentality

I’ve been trying to develop the middle part of my current work. I have an idea of how my hero, Chip, will progress and how he will change due to the psychological problems he will be dealing with, but I still have to figure out how he will fit in with the group.

Groups take on a life of their own, with a culture and a group mentality that is different from the sum of the individual members. The group, in effect, becomes a character, so I need to develop this character while I am developing my hero’s character.

There are five stages of group development:

1. Coming together and finding roles
2. Defining the task
3. Disenchantment with the leader, each other
4. Cohesion, feeling like a team
5. Interdependence, acting like a team, becoming more than the sum of the parts.

Most groups unconsciously assign roles to the members, and once these roles have been assigned, tacit agreement maintains them. The most common group roles are: leader, seducer (wants to bewitch others), silent member, taskmaster, clown, victim, oppressor, conciliator, combatant, nurse, young Turk (wants to take over the leadership), the naïf, and the scapegoat.

In the first part of my WIP, where Chip deals with the loss of everything he loved, he meets three mentors, but he is mostly alone. Even his cat deserts him. In the second part, he has to become a part of a group that will escape the place of refuge, choosing freedom over safety, but he is still a loner. I know readers like forceful main characters, the go-to guys and gals (for those of you who hate the word “gals,” sorry, but I couldn’t resist), but I prefer the quieter types, the ones don’t take charge until they are pressed into it out of necessity. So, in the group hierarchy, Chip will not be the leader. He will be the silent member and he will be the scapegoat.

Groups tend to isolate one person as the source of any conflict, whether warranted or not, and they deposit their negative feelings on that person. Because Chip keeps to himself, and because the others think he’s “teacher’s pet,” he becomes the scapegoat. I don’t think he cares, though, so if you don’t care, are you still the scapegoat? Either way, that’s the role the group has assigned him.

Chip’s eventual love interest will fulfill the roles of nurse and taskmaster. A serial killer will fulfill the role of clown. A woman who never quite fit into her other life will find a fit as the leader. The combatant and perhaps oppressor will be a soldier. A lawyer, an erstwhile ambulance chaser, will be the conciliator. But I don’t yet have characters to fill the other roles. So that’s what I need to work on — creating those characters.

This was supposed to be a silly book, a story just for fun, but in the development, it’s becoming something different, something I have to learn how to write as I go along. I keep promising myself that my next book will be one I know how to write. It would make it a heck of a lot easier. But then, where’s the challenge in that?

***

Pat Bertram is the author of the suspense novels Light Bringer, More Deaths Than One, A Spark of Heavenly Fire, and Daughter Am I. Bertram is also the author of Grief: The Great Yearning, “an exquisite book, wrenching to read, and at the same time full of profound truths.” Follow Pat on Google+. Like Pat on Facebook.

On Writing: Characters and Post-Traumatic Stress Disorder

When writing a novel, there are so many different elements to think about, that the only way I can get them in my head in order to concentrate on the story and not the underpinnings, is to write them down. My story problem today is whether Chip, my hero, goes through some sort of Post-Traumatic Stress Disorder. He probably has to — everyone he knows has disappeared along with most of Colorado. That’s enough to give anyone stress. And, of course, I kept him in constant peril in order to force him to choose safety over freedom. Now that he is safe, he has time to relax and reflect. The horrors of what he endured would have to haunt him and torment him. Just because he’s safe, it doesn’t mean the poor guy gets an easy time of it.

I already established in On Writing: Characters and Grief that Chip will be going through a spot of depression, and depression and Post-Traumatic Stress Disorder share many of the same traits. In both cases, people can feel helpless and hopeless, isolated and detached, fatigued and drained. They can lose interest in daily activities, and they can have trouble sleeping.

But Post-Traumatic Stress Disorder is not simply depression under another name. A person who suffers PTSD can also experience flashbacks, terrible dreams, loss of memory around the specifics of the event, diminished feelings, impaired personal relationships. The company of others can be painful. They might become hypervigilant, always watchful and alert. In addition, sights, sounds, or smells can trigger reactions or jog a memory of the trauma.

Chip is already becoming vigilant, but he needs to become hypervigilant; not only is it one of the symptoms of PTSD, it will become a survival necessity.

Until now, Chip has responded to all his problems by sleeping; he seemed to sleep all time. Of course, part of that was because of me — whenever I couldn’t figure out a way for time to pass, I’d put the poor guy to sleep. But I do think that’s a realistic reaction — too much happened too fast, that it wore him out. So, to show the change in him, he should have trouble sleeping — I like the idea of his roaming around at night while others are asleep. And when he does sleep, he should have appalling dreams.

His feelings of isolation, his inability to connect to others and the pain of being around them, will all help me keep him and his love interest apart. They have to hate each other until they fall in love toward the end of the book, though they will be thrown together much of the time. (One purpose for their hatred is that she will need to choose his way over the crowd’s way, and to make it more forceful, she has to do it despite her dislike for him rather than because of love.)

Thank you for bearing with me. I think I have a better grasp of where Chip needs to go in the story, and I know where I need to go — to write it.

See you later.

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On Writing: Characters and Grief

For characters to be realistic, they need to experience the same emotional arcs that we experience in our lives. A grieving person, for example, undergoes several stages, including denial, guilt, anger, depression, and finally acceptance. Chip, the hero of my current work loses everything and everyone he loves in a single day of earthly upheaval, but so much was thrown at him so fast, he barely had time to comprehend it all, let alone go through protracted stages of grief.

Still, he did experience a period of denial; how could he not? What happened to him and the world was unbelievable. He also felt guilt, wondering why he survived when so many others didn’t, but again, he had little time to indulge in the feeling — he had to learn to live in a plastic world. (Plastic, in this case, meaning capable of being molded and re-formed.) He dealt with it all until the final insult — the loss of the candy that was his one indulgence — and then he gave in to a fit of anger.

These first three stages, as I mentioned, were brief. Now that he is in a place of safety, away from the upheavals of his world, he could revisit those stages, but I don’t think it’s necessary. No point in taxing a reader’s patience with repetition of effects. So that leaves me with the two final stages of grief.

At the end, Chip will come to accept what happened to him. He will also come to accept his new role in life, but until then he will need to go through a period of depression. Should this depression be as short as the other stages? Should it continue for a while to make his predicament seem more normal? I don’t think it’s necessary. A character in a constant state of depression is not a vibrant character by definition and, anyway, this story is supposed to be lighthearted, a whimsically ironic apocalyptic fantasy.

I’m thinking on the fly here, letting you see how I develop a character. That’s not strictly true. I’m doing it because I need to figure out my hero’s next stage of development, and I need to post some sort of bloggery. I end up getting so many people to guest, that I forget the main purpose of this blog: me. Well, me, my novels, and my characters.

But for now, I do know where I stand with Chip. He will be going through a period of depression, but also he will be dealing with Post-Traumatic Stress Disorder. Or will he? I’ll figure that one out tomorrow.

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Story

I’m moving along at a measured pace — adding an average of 300 words a day to my current book. Not that the number of words matters to me, it doesn’t. The only reason I mention it is to let new writers know there are all kinds of writers. Some let the words gush out and try to type fast enough to catch them all. Some, like me, have to pull each word, kicking and screaming, into the world. Some have a compulsion to write; others make a conscious choice. How you write, how often, how many words you write per day are all unimportant, unless, of course, you are a writer under contract. But if you are a writer under contract, you would be writing, not reading this blog.

In the end, the only thing that counts is the finished story. The story doesn’t care how long it took you to write it. It doesn’t care if you bled words onto the paper or created it slowly, one puzzle piece at a time. A finished story exists complete and entire of itself, separate from the author and the author’s work habits.

Sometimes we wonder how our favorite authors write, but mostly we devour (or savor) their works, wanting only to immerse ourselves in the story. If it moves us to tears, makes us laugh or shiver, that’s all we care about for the moment. We don’t care how long it took for the author to create the effect. Being writers, of course, we might go back later and see how it was done, but at the time, all we are interested in is the story.

So, here’s the truth. You can call yourself a writer or not. You can write a thousand words a day or not. You can write every day or not. The only thing that counts is the story.

That’s what we novelists are all aiming for.

Story.

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McBooks

The book business is a very thin slice of the entertainment pie graph, but it is still big business. Moreover, it is a business steeped in tradition and antiquated business practices. There is a chance that the recent upheavals “just happened” because of the economy, the high price of hardback books, the younger generation (and even older ones) not as interested in reading. It could also be due to more people buying used books or patronizing libraries.

But I don’t believe it.

I tend to see purpose behind seemingly unpurposeful events. I don’t necessarily think that those at the top of the publishing food chain created this so-called crisis, but I do think they are taking advantage of it; they would be foolish not to.

Innovative technologies, such as the much-maligned print-on-demand (POD) publishing, put the big guys at a disadvantage. True, for now, POD-produced books are more expensive than those printed by major publishers, but that is because the machines are new, very expensive, and in the hands of only a few.

What will happen when these machines become cheap enough that every bookstore owner can buy one? A customer will be able to walk into a bookstore, browse through a catalog or display copies of books, make their choice, and in fifteen minutes the bookseller will hand them their purchase, hot off the press.

For the bookseller, this will mean a cleaner, more profitable shop. As it stands now, 85% of books in a typical bookstore sell less than two copies. It also means less time packing up books for return, less inventory costs, and the ability to offer an unlimited selection.

For the big publishers, it will mean no more costly print runs, no more warehousing overstock, no more returned books, no more shipping costs, no more having to destroy 25% of their product as they now do.

It’s entirely possible that as the technology becomes even more advanced, there will be book vending machines — customers make their choice, the machine prints and binds your books, and there it is. Who knows, there could even come a day when you order a cheeseburger, fries, and shake for lunch, and at the same drive-up window, order a book by Pat Bertram to read while you are eating.

Many people see print books as obsolete, taken over by e-publishing, and that is definitely a possibility, but I don’t think it will happen any time soon. Many readers like the feel and smell of books; other readers, especially older ones or those with failing eyesight, need the print format.

What I do know is that heads of major corporations are not stupid. Why would they put up with the ridiculous expenses of traditional publishing ways if they don’t have to? And with new technologies (some of which, I’m sure, we have yet to hear about) they won’t have to.

The end of the book business? No.

The end of the book business as we know it? Without a doubt.

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From Conception to Birth: One Book’s Journey to Publication

Today’s guest blogger is Margay Leah Justice, author of Nora’s Soul , available from Amazon and Second Wind Publishing. We are exchanging blogs, so I will be at Margay’s Blog. Margay writes:

Ah, the first blush of romance. The first time you see the idea, sitting there in the corner of your mind, trying to get your attention in that inconspicuous manner these ideas sometimes adopt. You look away, convinced that there is no way this idea could possibly go anywhere. It’s just a fluke, a fling. Surely, you’ll forget it by morning. But when you look back, the idea is still there, sitting in the corner, flirting with you. So what’s a harmless little flirtation? You approach the idea cautiously, in a manner you hope is suave and sophisticated, but as you get closer, your excitement rises. Your heart begins to race. You lick your lips in anticipation. It’s even more exciting up close. So you flirt with it, spend the night with it, take it home with you. In the morning, you’re surprised that it’s still with you. After two months, you begin to believe this idea has a future. So you cultivate it, give up sleep for it, nurture it as it grows within you. Soon, what began as a nugget of an idea in your mind blossoms into a full-blown creature. It grows within you, like a fetus in a womb, becoming bigger by the month, more substantial. You can almost feel it move within you; you carry it everywhere, wherever you go, it’s there with you. All of your energy is devoted to it.

After a suitable gestation period, your little nugget of an idea, which you have affectionately begun to call “the book” while you search for the right title, is ready to make its appearance. Your months of labor are about to pay off as you prepare to deliver your book into the capable hands of the publisher who will introduce it to the world. But wait, his assistant has to help you clean it up a bit first and you are struck by the niggling thought, What if my baby’s ugly? What if I put this out there and no one likes it? But with the reassurances of your publisher, you clean the book up and send it back, maybe with a prayer or two, and you wait. Now it’s time for your baby to prove its worth.

As you can tell from my whimsical tale above, writing and publishing, to me, often mimic conception and birth. The stages of both are remarkably similar. There is the courtship period when you are first introduced to the idea that will one day take over your life. Followed by the get-to-know you period during which you decide whether or not the idea has longevity and you want to commit to it. Once you make that commitment, there is the gestation period – I think you can guess what happens here. The idea grows and grows, taking on a life of its own, convincing you that you are mad, suffering from a hormonal imbalance, or both. But in the end, it’s worth it because you deliver a rollicking, three hundred page epic that someone is bound to love – and not because they’re related to you.

So I guess you could say that Nora’s Soul is the first of my literary babies. She is almost two months old now, having made her debut in November, and growing stronger every day. Bringing her to the attention of the public is similar to the care and nurturing of an infant, requiring constant vigilance. Yet the pay off is that people are noticing her, some are cooing over her, and others even want to take her home with them. She may just be crawling now, but soon she will gain her legs and walk on her own – -and I will sit back in amazement like any proud mother, thinking, Wow, I can’t believe I created that! And in the grand tradition of mothers everywhere, I will want to create another one, forgetting all of the pains and labor involved in the process. Keep your eyes open for the debut of Nora’s brother, Dante. Thank you for riding along with me on this whimsical journey into my take on writing. I hope you enjoyed the trip as much as I did.

Also see: Pat Bertram Introduces Dante, the Hero of Nora’s Soul by Margay Leah Justice.

Speaking of Writers . . .

Today was my day at the Second Wind Publishing Blog, and I posted an article entitled: “What Do You Call an Unpublished Writer?” If the truth be told, it’s a reworking of a bloggery I wrote over a year ago, but back then only a few people read it, so it’s practically brand new. What is also new (or rather eternally fresh) is that particular question, and it got me to thinking how only in the arts do people categorize themselves by their aspirations not their jobs. How many self-named actors in Hollywood or New York are restaurant workers with a few bit parts on their resumes and a head full of dreams?

It seems that writers, even more than actors, struggle with this identity. When do we become writers? When do we become authors? When can we call ourselves professional writers or novelists? It seems there are many steps on the path to becoming a writer, or at least to being able to call ourselves writers, and we have all sorts of definitions to prove that we are writers and other lesser beings are not. A writer writes — always. A writer has a compulsion to write. A writer . . . well, you get the picture. I have never been able to use such adages to define myself. I don’t write always. I don’t have a compulsion to write — it’s a choice.

I do know one thing, a writer does write some of the time. If a person has a novel in their head but nowhere else, that person might be a storyteller (not a bad title in itself) but not a writer. As for the rest of it, does it matter? Perhaps on the internet, where we are whatever we say we are, it makes a difference, but when we are alone with our words and our stories, we are simply being. Not being writers, but being the creat(e)ures we were meant to be.

Heroes, Heroics, and Heroism

Writers generally use the word hero to mean main character, though often that main character is not particularly heroic. So what makes a hero heroic?

Note: For the purpose of this discussion, hero refers to both men and women for no other reason than that I don’t like the word heroine. For one thing, it’s too close to heroin, which is how many people misspell it; for another, it reminds me of intellectually lightweight females more given to heroics than heroism. (Heroics meaning “ostentatious and overly dramatic conduct.”)

The other day I watched the movie Lone Hero (an older movie starring Lou Diamond Phillips), and it struck me it had the same basic premise as Hero (an even older movie) starring Dustin Hoffman. A character instinctively does something heroic, (meaning, in this case, “marked by courage and daring; noble”) and at the end of the movie, he consciously chooses to do another heroic act. (I know movies aren’t books, but they are the result of writing, and as such fall within the purview of this group’s discussions.)

So, which was the true heroic act — the instinctual one or the calculated one? I got the impression from those movies that both writers thought the second one was more heroic since the characters chose the action, but to me that was merely bravery — true heroism comes from within, the instinct.

So, are your heroes heroic (in any sense of the word)? Do they act instinctively or calculatingly? What do they do that is so heroic? Does it change them? Does it change those around them?

And, on the opposite side of the spectrum, to be worthy of note by the hero, does the villain also have to behave heroically? All too often, writers give their villains heroics (overly dramatic bad conduct) but not heroism.

The group No Whine, Just Champagne will exchange ideas about heroes, heroics, and heroism during our live discussion on January 15, 2009 at 9:00pm ET. Hope to see you there! (Or you can discuss this matter here.)

(Could I have used more parentheses?)

Writer’s Block? No Such Thing

Linda Barnett-Johnson , my guest today, is Assistant Editor of Long Story Short and Director of Administration for the Long Story Short School of Writing. Linda writes:

In the dark recesses of your brain, known as the cerebral cortex, is where the words to your many stories lay dormant.  They’ve taken a leave of absence without any authorization. You know they’re there because you’ve accessed them many times before. Is this what is known as “writer’s block?”

Is there such a thing as “writer’s block?”  Does our writing mind shut down like a factory when it’s time to go home?  Does our writing ability go on vacation or enter la-la-land?  Or does it act like a signal light going from green, writing without ceasing; yellow, slowing down – getting off the track; or red, complete meltdown – do not pass go or collect $200.00 – stopped dead in its tracks. 

If writer’s block existed, you wouldn’t be able to write your name, make out a shopping list, pay your bills, or write down an appointment and keep it!  So unless you’re dead or in a coma, there are many opportunities to get over your “writer’s block.” 

Get Creative: 

Go to the park with pen and paper and write what you see.  Then what you hear, smell, feel and taste.  Your senses are always in working condition.  For example:  “The bird looked like it stood still in the air.”  Now fill it in with more description.  “The large hook-billed eagle hovered over the ground, looking for prey with his keen eyes.”  Try it with all the senses. 

Another trick is to take your dictionary and start reading the words.  A lot of times this will trigger something loose.  Or randomly pick a word and write about it.  How about randomly picking a word and adding the word land or village or town behind it.  For example:  I close my eyes and my finger lands on – “revolve.”  Now put the word land behind it and you have – Revolve Land.  I don’t know about you, but I can see a children’s story about a town that has revolving playgrounds or schools.  Use your imagination and you’ll be surprised at what you come up with.

I have a fun project I started that keeps my brain from going to la-la-land.  

1) Take a small box about 12″x12″ (or a size that suits you), and write “Story Starters” on it. 

2) Get some Baggies, a black marker, pen, and notebook paper. 

3) On one baggy write: “Character Names, another “Settings,” another “Emotions” and the last “Objects.” 

4) a) Take your pen and paper and write as many “Character Names” you can think of.  Just make up names.  Get a phone book if you have trouble.  Fill up the whole page.   Now do the same with “Settings,” “Emotions,” and “Objects.” 

    b) Cut and fold each one and put them in their individual marked baggy. 

    c) Now draw a paper from each baggy.  You now have a “Story Starter.” 

Here’s an example: 

Character Name                   Setting                  Object                      Emotion 

Baron Colmsby                    Concert                 Baby Girl                 Funny 

I choose one piece of paper from each baggy and this is what I come up with.  My imagination is running wild.  I visualize Baron Colmsby at a musical concert.  Someone has brought a baby to the event.  Think of funny incidents regarding the Baron and the baby.  In fact, that would be a good title for the story – The Baron and the Baby.  Could make for a funny story. 

You can make a baggy for anything.  How about:  “Story Titles,” “occupations,” “mannerisms,” to name a few.  That’s the fun of this project.  I even have a baggy with “phobias.”  Whatever phobia I pick from the bag, you can be sure that one of my characters has it.  It’s a blast!  There are tremendous possibilities, as well as a myriad of things to write about.  Keep it simple, or make it as elaborate as you want. Get your kids involved. 

So you see there are potentials all around us.  All you need is your imagination and your senses.  So, in my opinion, unless you have no imagination, there’s no reason for “writer’s block!”