Searching For The Next Novel Idea

A book of ideas

A book of ideas

I’ve decided to park Finding Lucy for now, as I need to start writing now to get back into the swing of things and the draft needs far too much analysing to write anything more on it yet. So today I ran through my scribbled list of projects looking for inspiration. I didn’t find it, even though the list is rather long!

Current Drafts:
Finding Lucy (needs too much work)
Bonds of Love (ditto, plus has overlap characters with Finding Lucy)
Annie and Phoebe (about a Georgette Heyer novel that isn’t in public domain, so a no go for self-publishing)
Dragon Wraiths part two (don’t have the energy to pick through the hot mess of the last few chapters)
Alfie and the Arch (don’t feel qualified to write kids’ fiction at the moment)

Pencilled in Sequels
Sequel to Two Hundred Steps Home (don’t have energy to re-read the 200k original to pick up the story thread)
Sequel to Baby Blues following Ben and Sharni (isn’t grabbing me, lots of cultural research required)

Totally New Ideas
The Pudding Club (an idea that floats around every time I catch up with my old colleagues – a novel or play written just through dialogue at regular catch-ups. Bit worried my friends will try out work out which one is them or take offence.)
Dad Starts Dating (a YA about a girl whose divorced parents start new relationships – based on personal experience; I worry I would end up offending my mum!)
Colony on Jupiter (YA? – one of the dream stories I actually wrote notes on rather than immediately forgot. A bit like the TV series 100, although my idea predates watching it, but where the space station is a functioning community with shops, school etc)

So far NONE of these is remotely grabbing me. I want to write something with a bit of pace; I’d love to write a series, to help sales and because I loved spending a whole year with Claire last year, and I’d love to write something fantasy/sci fi, even though that’s considerably out my comfort zone.

But a) I worry that straying from the stye of Class Act and Baby Blues will be a mistake (although I can’t give Class Act away, so there isn’t much to break) and b) I’m really not sure I have the imagination to pull it off without plagiarising something. It’s no coincidence that my characters are loosely based on me: my biggest fear is stealing someone else’s idea/style/world. I found it happened a lot with Dragon Wraiths, whereas it was easy to imagine the settings for Class Act and Baby Blues.

I feel like when I can’t decide on a new book to read, which ironically is also a problem I’m having. I have three or four good novels half-finished on the kindle and have reverted to the failsafe of Harry Potter just to keep reading. It feels like I poured all my creativity into loombands and knitting and art in August and now I’m empty (and have RSI!)

Arrgghh. Writers out there, where do you get your ideas from when you’re stuck? How do you choose your next project? I have been working on old manuscripts for so long I’ve forgotten how to start something new, and I’ve never started something without a glimmer of an idea from a dream or a character or an idea how the story ends. Maybe it’s time to get an early night and hope I remember my dreams!

The It’s-All-Shit Stage of Writing

I just want to sleeeeeep

I just want to sleeeeeep

I’m currently going through what I’m coming to recognise as the I’m-feeling-low-because-I’m-editing-my-book-and-it’s-shit phase.

Symptoms include sleeping or wanting to sleep all the time. Eating comfort food and then wondering why I have no energy and my wobbly bits are a bit wobblier. Feeling emotional, crying and wanting to hug my kids loads (look, someone loves me, look I created these amazing people, I did something right.) Checking my kindle sales figures and despairing that I haven’t sold a book in three days (damn you, new kindle sales graph). Checking Goodreads and Amazon for new reviews and seeing the new critical three-star review as confirmation that I can’t write, even though I have five star reviews and even the three star review isn’t that bad.

I know this will pass. I went through it with Baby Blues & Wedding Shoes (less so with Dragon Wraiths because I edited it for a competition deadline and the urgency pushed me through the pain).

I know the editor will come back with some great suggestions and, even if the novel is currently a steaming pile of poo, it can be fixed. I know I’m stressing because I’ve discovered paragraphs – okay even whole chapters – that need work. I’m stressed because Kristen Lamb recently wrote three posts on the evils of flashbacks and my novel has two and, try as I might, I can’t think how to write them out.

I know my book doesn’t have enough pace and conflict and humour. At 85k words (when my previous novels both came in at 110-115k words) I’m worried it doesn’t have enough of anything. Right now I’m 50% through final pre-editor line edits. I’m averaging more hours sleeping than working every day. (Today’s work day = 1 hour school assembly, 1 hour editing, 2 hours’ time wasting, 2 hours’ sleeping.) I want to abandon editing and get back to my children’s book, only that’s a steaming pile of poo too.

Flatlined sales chart

Flatlined sales chart

Even though I know this will pass, I do worry that the more books I write, the more craft advice I read, the more I work at this writing thing, the harder it is getting to come up with good ideas. The idea for Dragon Wraiths – my favourite (although flawed) book – came in a dream and the words flowed. Not without effort, but mostly without doubt. I wasn’t trying to write someone else’s book, I was writing my book. Now though, especially with the children’s book, I’m trying to recreate the brilliant middle grade fiction books I adore to read. And as a result I can’t seem to come up with a story and I don’t have faith in myself to just write and see what happens. Being stuck in the editing doldrums with Class Act is not helping!

As with my paintings, the more I try to be a professional the more I feel I’m losing the part that made it fresh and fun and exciting. I wonder if your third complete novel is a bit like the third year in a relationship, when the heady romantic days have settled into a comfortable routine and you have to work a bit harder at the compromises? Or maybe authors feel like this about every book. Certainly Matt Haig said The Humans is the book he is most proud of, the “one I will never be able to write again.” (Facebook) and he’s written LOADS of books! (I thought he also said it was the only one he enjoyed reading, but I can’t find that quote on Facebook…)

Writing, like parenting, is full of highs and lows, successes and doubts, and the best mantra you’ll ever hear, even though it doesn’t help at all at the time is, “This too shall pass.”

Let’s hope so.

The Tricky Task of Combining Craft with Draft

Editing Class Act

Editing Class Act

For the last few days I have been immersed in re-reading Class Act a final time before sending it to the editor next week, having decided the words were just not going to come on my children’s book after the Easter break.

I find it excruciating rereading my own novels. It usually starts out okay, as time away gives enough distance for me to fall in love with my characters again. After a few chapters, though, each sentence is painful. I know the story inside out and I start to second and third guess myself. I wonder if there’s enough action to be interesting, whether the characters are annoying, whether there is too much introspection and not enough plot. Should I have read more craft books, planned and analysed the text more?

Yesterday I impulsively purchased two books recommended by Kristen Lamb in her post Everybody Arcs: How to use emotional growth to propel the story and capture the reader – Angela Ackerman and Becca Puglisi’s Negative Trait Thesaurus and Positive Trait Thesaurus (I already own The Emotion Thesaurus)

Unfortunately owning craft books doesn’t help if you never make time to read them. I dipped in, but then I became obsessed with what Rebecca and Alex’s positive traits and flaws might be, and whether they arc during Class Act. It was a short step from that to feeling I wasn’t a proper writer because I didn’t have all that detail straight in my head when I hope to publish the novel by the end of June.

It’s not the right time to be worrying about that. I’m not saying it’s too late – I hope some of that detail will come out in the edit – but it isn’t something to dwell on during a line-by-line read through. However, it does highlight one of my biggest difficulties with writing: merging draft with craft.

Just some of the hundreds of amends

Just some of the hundreds of amends

I’m a pantser rather than a planner. I don’t want to be. I have ground to a halt on my MG novel because I can’t visualise the ending and am stuck in a soggy middle. But every time I try to sketch out what happens next, my characters decide on a different path, and hours of effort are wasted. Either that or I plan the life out of the story and can no longer be bothered to write it. To some extent I write to find out what happens – if I already know every twist and turn of the plot I get bored.

Writing that way makes it difficult to consciously craft, however. I read posts by authors like Kristen Lamb and it all seems so clear: what positive and negative traits a character needs and how they can drive the plot. So, buy a useful thesaurus, select some traits, and off I go. But every time I sit down and try to figure out that kind of detail I draw a blank (and usually lose the will to write).

Somehow, without conscious thought, my characters develop flaws and tells. But their journey, their growth, isn’t really controlled by me. If they grow, learn, change, during the story, that’s more by accident than design. Ditto for making every paragraph multi-functional : contributing to the story, character development, conflict or climax. Of course that’s what the revision process is for. When I start to deconstruct my writing, however, that’s when I start to think it all sucks. The more I stare at the words the less they make sense, until I’m convinced I should chuck the lot in the bin and start again. I feel like my husband, who can play the piano beautifully but thinks it’s just noise because he can’t read music.

Until I can learn to combine craft and draft I suspect my novels will never really sing, but reading craft books makes me judge my own writing too harshly. It’s a quandary. And that’s what editors are for, I guess. Hopefully a good one will help a book find its voice. Certainly I hope mine will help with Class Act. That’s assuming I wade through the words and get the manuscript sent off next week, of course. Back to work!

Celebrating Success and Searching for Motivation

Achieving great rankings

Achieving great rankings

My Baby Blues and Wedding Shoes promotion ended this morning and it couldn’t have gone better. I had around 2,500 downloads and reached some great numbers in terms of ranking:

#8 in the Romance category on Amazon.com

#10 in Contemporary Women’s Fiction on Amazon.com

#39 on overall free downloads for Amazon.co.uk

#15 in Contemporary Romance on Amazon.co.uk

Now I know these numbers don’t mean a great deal. The majority of people who downloaded the book won’t read it, even fewer will leave a review. However to get that many downloads in two days, when the book only has one review in the US and none anywhere else (and virtually no promotion other than a few tweets and status updates) gives a little ray of hope that at least my blurb and front cover are okay (Though hubbie tells me the title makes people think the book is depressing.)

I see free promotions as more of a banner advert, getting my name in front of people who wouldn’t otherwise discover me and my writing, than a way to get new readers. I know myself that I download dozens of books I’ll never read. Time will tell whether it works as a strategy, but if nothing else it’s a nice feeling to see yourself on the first page of the bestsellers! 🙂

Making it on the first page!

Making it on the first page!

It also makes me see the benefit in loading a book up for preorders via Smashwords. If I could sell enough copies in the weeks prior to release, then that splurge of sales on day one of release would do wonders for initial rankings. Of course, I have to finish my next book for that to happen and, boy oh boy, am I struggling. I’m still tired and scattered from the medication, and I just can’t seem to pin myself down to the hard graft of revisions. I know if I’m not careful weeks will turn into months and, like the box of kids’ things waiting for me to sell on ebay, it will become an insurmountable task to get back to work.

I wanted to get my first draft to the editor by Easter, so I could take the two weeks off to clear my mind, ready to work on the revisions when they came back, and give the children my attention during the school holidays. Ho hum, that gives me five weeks to add thirty thousand words and fill all the plot holes AND get it to Beta Readers. Hmmm some mountains are too high. I think it might be that which is freezing my mind. Needing to work around the school holidays is adding a new dynamic to my already-fragile motivation! Oh well, every mountain is climbed one step at a time. I just need to write ten words today and it will be twenty tomorrow.

But first I might walk the dog!

Filling the Gaps: Where’s the sex?

"Romance" covers show what readers want

“Romance” covers show what readers want

I’ve been working on Class Act today, hurrah! After too many days lost to sickness (me and the children) it was nice to get back to it, even if I didn’t make as much progress as I’d hoped. I had a pretty rough day yesterday and it is hard to write, for me, when I’m emotionally drained.

So I spent the time I had looking through my current draft of the novel to spot areas that needed expanding. As I’ve mentioned before, I tend to write the highlights in my first rough draft, and then have to go back and fill in the gaps during revision.

One thing I’ve noticed that I leave out a lot is the sex. My books are fairly chaste, particularly by modern standards. There isn’t much nookie, even though Baby Blues starts with a sex scene (which was originally more detailed than the final edit). I find it’s not something that gets added in unless I think of it. Maybe it’s because I grew up reading (and loving) Georgette Heyer novels. (Class Act definitely has elements of a Heyer story). Maybe it’s because I’m a mother of two small children, generally too exhausted to give much thought to nookie in my own life (sorry hubbie!)

It’s certainly unusual. Most of the chick lit books I grew up reading (aside from Heyer) have at least one or two sex scenes, from the sweet, to the implied, to the steamy. I enjoyed reading them in my teens and twenties, although I’m not a fan of erotica or books that have sex as the main focus. But it is generally a natural part of relationships and therefore plays a role in the character and plot development, so why do I leave it out?

My Latest Read - lots of kissing!

My Latest Read – lots of kissing!

I am noticing, as I read Twin Curse, that there’s lots of kissing and physical contact (and I’m sure eventually sex). And I wondered, is that why my books don’t sell well and don’t get reviews? In the days of Fifty Shades of Grey, am I not fulfilling the need for a bit of action? Certainly if you search ‘romance’ books on Amazon, the covers suggest that bedroom action is a key selling point. When I write my novels, my aim is usually to explore characters at life-changing points in their lives: change of career, change of priorities, change of heart. They fall in love, but that’s only part of the story. The demons they battle are in their minds and in their past. But, to make the relationships genuine, there has to be some physical attraction.

I remember watching an episode of Bones once (a TV show about a forensic anthropologist who is also an author). The lead protagonist is proud of her books, particularly the scientific aspects of them, but her fans buy and read them for the sex. She actually has a friend of hers help her with that aspect of the stories and eventually gives her friend a percentage of the book royalties because she realises it is the sex that is selling the books.

I suppose the phrase “sex sells” didn’t come about by accident. But it feels awkward for me to go through the story and inject sex scenes where there are none. Particularly in Class Act, where the physicality of the relationship is a core part of the story. I was shocked to discover I’d got to the climax scene in the first draft without the couple ever ending up in the bedroom – even though it was a core part of the story! (The same happened in Baby Blues but at least she had the excuse of being pregnant / a new mother!)

And then of course there is the issue of how steamy to be. I prefer implied action, because what is a turn on for one maybe a complete turn off for someone else. I remember reading Mills & Boon as a teenager and giggling over the “throbbing member” type descriptions. Focusing on the sensations and the emotions is probably more my style. But there is a danger that it all gets too introspective and unrealistic: people don’t typically have internal dialogue when they’re in the clinch of passion.

Anyway, I don’t really have the answers, but I was intrigued when I realised how unromantic and chaste my romance novel is in its early drafts. Maybe I should stick with writing YA or move into MG fiction. I’m obviously more interested in plot points than pants! But, for now, I need to fill the gaps. I’m sure hubbie will be happy if I do some research and inject some sex back into things! 😉

A Curious Novel

My latest read

My latest read

I finished reading The curious incident of the dog in the night-time by Mark Haddon last night and I really want to capture my thoughts on this interesting novel. I began reading it with no expectations. I’d heard of it, that’s all, when I saw it in the library. I had no notion of what it was about, or the author, or anything (including the fact that the title comes from a Sherlock Holmes quotation.) I merely selected it as part of my aim, this year, to read more and select a wider range of books.

I’m glad I did. It is a strange novel, about a fifteen-year-old boy with Aspergers Syndrome. I feel privileged to have read it. Yes, that’s my overwhelming impression. It wasn’t a rip-roaring read, a heart-warming romance, or an unputdownable thriller, but still it dragged me through to the end with little effort (which is a big ask of a book these days because I’m very quick to give up on something that doesn’t keep me awake!)

It is funny, quirky and endearing, but mostly it’s a clever book. Written in the first person, from inside the mind of an autistic teenager, it presents the world in a new way. It also gave me a new respect and understanding for autistic children and their parents. But not in a way that demanded sympathy or forced ideas on me.

Instead, through an evolving set of anecdotes and an unravelling mystery story, it revealed immense detail about the character, his family, his life and his interpretation of the world. Some of the apparently peripheral discussions, for example about God, or time, or the universe, were both enlightening and profound.

As a writer, the book is a master class in RUE (resist the urge to explain). The reader is left to put the pieces of the jigsaw together in a way that the main character often isn’t able to. And, despite it being written in the first person, an entire world is unveiled surrounding the main character. I can’t begin to explain how so much was revealed with so little being said (certainly not without giving away spoliers.)

I think the enjoyment came from this, though. The reason the novel kept me awake was because I was actively involved in constructing the text, fleshing out the story, connecting the dots. The same was true of The Raven Boys, now I come to think about it. I’m starting to think of it as the art of secrets. Not glaringly obvious secrets, of the kind I might clumsily put in a novel – like Josh’s big secret in Two-Hundred Steps Home, or why Claire broke up with Michael. But more a subtle revelation of the bigger picture, like panning out in a movie and seeing the full context.

It is a goal I intend to aim for in my own novels, although I know I’ve got years of practice ahead of me before I get there. I don’t think it’s something that can be taught, but something that has to be learned through hard effort. I suspect it will also require me to become more a planner than a pantser. My natural writing style is to reveal everything as soon as it occurs to me (I’d make a rotten poker player). Instead I need to play it more like chess. Think fifteen moves ahead, prepared to change my plans if necessary, but keeping the moves secret for the reader to discover at the best moment.

I feel like my daughter; only just learning to read but wanting to be able to read adult books. I’m only just learning to write and I want to be able to write like that. Now! Now! Now! *Pouts*. Time to read a few craft books, consume a stack of fantastic novels, dip into a load more blogs and, more importantly, practice, practice, practice. I can feel (another) rewrite of Class Act coming. Bring it on.

Research and The Raven Boys

What Alex's London flat might look like

What Alex’s London flat might look like

I miss Claire. There, I’ve said it. I miss writing an installment of her journey each day, with a reasonable idea of where she was in the world, at least, and where her story was going. I miss guaranteed word count.

I’m in redrafting hell at present, trying to rescue two characters I love from a badly plotted and planned novel awash with backstory. The problem with loading a first draft with backstory is that changing one thing has a rippling effect across the entire manuscript, especially if you’re trying to rewrite two lines of throwaway history into a whole chapter or even two.

My lead man Alex has a friend called Philip who is essential to the story. Starting In Media Res I didn’t have to worry too much about their relationship before; where they first met, how they met, considering they’re so different. Now, though, we first see them catching up down the pub, setting up the rest of the story’s action, and I have to understand all these things. How do people from different backgrounds meet? How do their different careers and incomes affect their friendship? What’s the age difference? I managed 700 words of stilted dialogue today and gave up in disgust.

I’m also trying not to be overly influenced by the book I’m reading – The Raven Boys by Maggie Stiefvater – as her novel contains a character that could be, or at least have known, Alex as a public school boy. Maggie Stiefvater’s character is so convincing I’m finding parts of him creeping into my prose: except Raven Boys is set in America, whereas Alex would have gone to an English boarding school (which I know very little about, another fact that wasn’t especially important before.)

As each of these random strands of research crop up, I keep losing the flow of writing because I need to research the role of a stage hand or investigate pubs in North London or apartments in Chelsea. I might even have to watch an episode of Made in Chelsea – *shudder* – to try and understand Alex’s present girlfriend Paige more, as again she has moved from a paragraph of explanation to a speaking part.

I swear this is the last time I rescue an old manuscript by moving the timeline back a few months. Next time it starts where it starts and that’s that!

The Tricky Question of Backstory

Challenging my views of writing!

Challenging my views of writing!

Following on from yesterday’s request for advice and opinion, I need to ask about back-story. It’s the bane of my life, and Class Act is littered with it. Baby Blues & Wedding Shoes was, too, in the early drafts, and I solved the problem by starting the novel six months earlier.

That will work to some extent for Class Act, (lovely – another massive re-write! 🙂 ) but there are two incidents in the female protagonist Rebecca’s early life that impact on her current personality, and I don’t know how to integrate them. At present they’re written as flashbacks. Shudder. Unfortunately I actually like how they’re written so it’s easy to become attached to the scenes rather than put them in the bin where they should be.

The problem is I get defensive of my characters and want to explain why they have the flaws they do. But how much detail is necessary or desirable, and when should it be revealed? In The Radleys, by Matt Haig, the back story is cleverly integrated and is also overlaid with the character’s perception, so you start out with a half truth that colours your view of a character’s actions, and that view evolves and changes towards the climax of the novel. Masterful stuff. I’m pretty certain I’m not skilled enough just yet to pull it off without getting in a muddle.

The other problem is defining the novel’s inciting incident. Really, both bits of backstory are. Or the moment where the lead protagonists meet, which is where the novel currently opens. Baby Blues originally started with when the love interests meet, too, and after the rewrite that scene ended up a third of the way through the book. I like it, because you get to know the characters first, but then it blows wide open what the first turning point should be. We make decisions every day which, with hindsight, turn out to be inciting incidents. The job we take,   or the bus we catch that breaks down or gets blown up.

Incidentally, Jami Gold has a great post on the importance of getting these elements or ‘beats’ right in a novel and how defining them isn’t always straightforward! See Why Story Structure Matters. Unfortunately, even with her helpful Beat Sheets, getting the right elements into a story at the right time is (for me) the hardest part of writing.

So, right now my options are revelation through phone conversations with a friend (tricky), adding a prologue (generally advised against), or vague hints that might be missed or misunderstood. It was much easier with Claire in Two-Hundred Steps Home, as she didn’t really have a back story that mattered!

What are your views? Any great examples of how inciting incidents in childhood or early adulthood have been successfully integrated into a story? How much do you need/like to relive past experiences that have influenced a character? When do you need to know the details? Do you need to already care about a character, or do they help you care? Sometimes it feels like I’ve forgotten how to write a novel!

Nearly There: 2013 365 Challenge #364

My sister bought me this for Christmas!

My sister bought me this for Christmas!

Oh my goodness, here we are, my penultimate post of 2013. When I started the 365 Challenge back in early January, I wasn’t sure I’d make it to the end of the month, never mind the end of the year. By Day 4 I was just beginning to realise what was involved.

It wasn’t merely committing to writing 1,000 words a day (on average: some days a post can be nearer 2,000 when both parts are combined) but also finding time to edit and proofread those words; to make sure each post entry and each novel installment made sense; then adding photographs, tags, categories and getting it live.

I feel like I’ve come a long way.

When I began a year ago, I thought the daily novel would be the main part. I hoped to get blog followers from people who wanted to carry on reading what I was writing. That didn’t happen on the blog, but rather over on Smashwords, where the downloads across all volumes number in the thousands. Here on the blog, while the increase in followers hasn’t been massive, I feel more like I have made some really great friends. I’ve met fellow writers, artists and parents, I’ve discovered one or two amazing Beta Readers, I’ve felt – like Claire – that I’ve found my way home.

I’ve also grown as a writer. My confidence in my ability to write is significantly greater now, after the countless hours I’ve invested in Two-Hundred Steps Home. I know, now, that I can write and polish a 500-word blog post, or a 750-word scene in a novel, in under an hour.

Thank you to my amazing kids!

Thank you to my amazing kids!

I can research anything I feel the need to discuss, from a remote pub in New Zealand to what it really means to survive suicide. I can format and self-publish a novella in a few hours and get it through Smashwords’ Autovetter first time (although I haven’t resolved my issue with their Premium Catalogue!)

Best of all, I’ve learned how to edit my own stuff and Beta-read for others. When I began my journey I was trying to proofread Baby Blues & Wedding Shoes (or Pictures of Love, as it was back then). I couldn’t do it. Line-editing left me cold. Now I know that I have to do it in chunks, and then there is a delight in crafting the words and making the sentences flow.

Let’s not leave out that I’ve written 285,000 words of fiction this year, and will have published it as 12 separate volumes, each with a cover designed by me. On top of that, I estimate that I’ve written a further 200,000 words in blog posts. That’s nearly half a million words. In one year. If they were novels, I would have drafted out five. Five! During 2 or 3 days of childcare and lots of late night sessions.

I couldn’t have done it without my family. My husband has been amazing. He’s my best critic and my biggest fan. He’s taken the children when I’ve needed to write (I couldn’t have done the challenge if he hadn’t been had home for most of the year), he’s put up with me sleeping on the sofa then prising my eyes open at 10pm to tap out five hundred words. He’s put up with a dirty house and takeaway pizza.

My poor children have dealt marvellously with a tired and grumpy Mummy who constantly has her laptop open or is always taking pictures “for the blog”.

My amazing family

My amazing family

Their recompense is that they have this unique diary of a year of their lives. Reading back through my posts is to read through some of the highs and lows of being a parent (and a human being).

None of my posts are likely to see me Freshly Pressed: I may have learnt to write fast, but I haven’t learned to write profoundly. Still, it’s all been written truthfully and from the heart.

And so I thank you all for listening. Without readers, followers, this would all be me shouting into the wind. Knowing people cared about me, about Claire, about the story, has kept me going.

The support of people on this blog has also led to me releasing two of my novels this year also; something I still find incredible.

To anyone thinking about undertaking a writing challenge in 2014 I say, “Do it!” And, so you don’t quit, get out there and tell people. Get support. Face humiliation for failing. Because some days the only thing that got my tired body up and at the laptop was the fear of failure. Not that failing is bad. I love the Samuel Beckett Quote “Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.”

Don’t be afraid to fail. As I said to my daughter, when she threw a tantrum for losing at her second-only ever game of checkers this evening, “It’s not winning or losing that counts, it’s having fun along the way.”

And it’s been fun. Mostly. 😉 See you tomorrow for the final installment!

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Below is the next installment in my novel Two-Hundred Steps Home: written in daily posts since 1st January as part of my 2013 365 Challenge. Read about the challenge here.You can catch up by downloading the free ebook volumes on the right hand side of the blog:

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Claire could barely swallow the food. Her throat felt as if it was lined with grit. She put down her fork and sipped at her water. Across the table, Conor’s plate was equally full. They’d exchanged only pleasantries since arriving at the restaurant. The longer they sat, the harder it was to speak the words that hovered between them like a flock of hungry seagulls.

“Walk with me.” Conor’s eyes pleaded with her and she nodded. While she retrieved her cardigan and bag he went to pay the bill. They left the restaurant in silence and she followed him down through the high street towards the shore.

The sun had sunk below the horizon and streetlights cast shadows across the empty beach. Out on the water a few boats bobbed like ghosts, but it was a far cry from the crowds of the Carnival only weeks before. With the children back at school there was an air of ending about the town; a sadness that tugged at Claire like a riptide and pulled her under.

What must it be like to live in a seaside town, where the passing of the seasons takes a back seat to ebb and flow of the tourist trade?

She wondered if she would feel the same at the activity centre, but knew that she wouldn’t. Timothy planned to take children all year round, with summer camps in the long vacation and school trips for the rest of the year. While the nearest town was a tourist resort, it also had a harbour and a university. Different blends of life intertwining to provide a tapestry of endless change.

And where will I fit in, in that tapestry? She didn’t know the answer, but knew it didn’t matter.

They walked along the shore, to the mournful sound of the tide sucking at the stones only to fall away. Conor took her hand loosely in his and the touch of his skin sent sparks across her body. She yearned to turn and yield to his embrace.

“When do you start?”

Claire jumped as his voice came loudly out of the dark. She didn’t need to ask what he meant.

“Monday.”

“So soon?”

She heard the pain and hardened herself against it. “The first school group arrived this week. They need me.”

“And what about me? What if I need you?” Before she could respond, he spoke again. “Sorry, that’s unfair. God knows you’ve done enough for other people this year. I don’t want to be another duty.”

He dropped her hand and ran his fingers through his hair as if trying to stop himself flying apart. She could just make out his face in the gloom and saw him give a wry smile.

“I tried. Really I did. I wanted to support you in whatever decision you made. But then it was so perfect, spending time with you, and I couldn’t imagine letting you go. I still can’t.”

He reached up to stroke her face, before letting his arm fall again. “Why?” The word hung in the dark and she didn’t know how to respond. “Why is it so important to you to go?”

She searched her thoughts for answers. “Honestly? I don’t know. All I know is that I have to do this. If it means losing you, being lonely forever, then that’s the price I have to pay.”

Once she started speaking, the words wouldn’t stop. They rushed on relentless, like the incoming tide. “I’ve spent my life living the role I thought was expected of me. At home, at school, at work. I have to find my own path, even if that means slipping down the odd cliff.”

She saw him smile at the memory; a sad, nostalgic smile as they both pictured a bedraggled woman covered in grazes. She tore her gaze away and looked over his shoulder at the ocean, glimmering in the dusk. Memories would only imprison her in a life she wasn’t ready to live.

As if answering a question he hadn’t articulated, or maybe a question from her heart, she continued, “Yes, it’s worth it. Yes I’ll sacrifice having an iPad and a shiny car, a career with prospects, even the man I love like breathing, if it means I can be true to myself.”

The word love reverberated around them. When he reached for her, she saw the longing in his eyes and felt herself waver. She had to escape before her resolve crumbled into dust, eroded like the limestone cliffs that anchored his heart in a town which would never be home.

Stretching up on tiptoe, she brushed a kiss across his lips, then turned and ran up the beach, before he could see the tears falling down her cheeks.

***

Using a Thesaurus: Good or Bad?: 2013 365 Challenge #229

Can't have too many craft books

Can’t have too many craft books

Sometimes an idle reading of a blog post (or just about anything, to be honest) can lead me off on an hour-long internet search.

The post inspiring such a search today was Charlotte Rains Dixon’s post, Kaizen (Sort of) for Writers. I was drawn to the article because my husband used to have Kaizen days (Japanese for improvement or change for the better, according to Wikipedia) at a former place of work.

Charlotte’s post discusses ways that writers can introduce small changes for the better into their writing.

One of her suggestions was “Learn a few new vocabulary words” and included a link on ‘strong verbs’ which sent me off to read some of Charlotte’s posts from 2008 about improving writing using a thesaurus and a personal word book.

I use the online thesaurus in Word a great deal, mostly when I find the same word twice in a sentence (which happens often with something like ‘road’ – street/lane). As I edit my Claire instalments every day, and I am editing Baby Blues and Wedding Shoes at the moment, I seem to be searching for alternative words all the time. (And Word is often not much help!)

One of the many versions of Roget's Thesaurus

One of the many versions of Roget’s Thesaurus

Charlotte’s second post on the subject talked about a particular thesaurus called Roget’s International Thesaurus, which apparently arranges the words thematically (as Roget originally intended) rather than alphabetically. It sounded great, so I went off to find a copy to buy (not that I’m impulsive or need instant gratification or anything). There began my search, as that version appeared to be quite pricey and hard to come by in the UK. I started looking round for something similar, reading reviews to understand the differences.

Then I came across an essential review pointing out that International meant American. I already struggle with distinguishing between English and American spelling, spending too much time with a dictionary to ensure consistency in my writing. The last thing I need is an Americanised thesaurus.

So then I started looking for other versions of thesauruses, reading reviews which appeared to mostly complain that the type was too small or the book too huge. Kindle versions seemed a good idea until I realised they aren’t always searchable.

And then I came across an article on Daily Writing Tips called Hint to Writers: Use the Thesaurus with Caution. It discusses the dangers of using a thesaurus too heavily, resulting in over-complicated writing or the use of words that don’t quite fit (not all synonyms are created equal). The article mentioned Stephen King’s advice in On Writing (paraphrased, I’m guessing), that‘wherever your vocabulary is at today is fine.’

The comments on this article were as informative as the original article and ranged from complete agreement to disagreement. Philip Dragonetti suggested that, “A Thesaurus is to be used only to transfer words from one’s passive vocabulary into one’s active vocabulary.” That’s exactly it: I know the words I want to use, but sleep deprivation and too much time spent watching Cbeebies, has reduced my vocabulary considerably since my student days.

One craft book I haven't read yet

One craft book I haven’t read yet

Another article that my morning of internet searching produced was called Is the Thesaurus Your Friend? This interesting post discusses how writers are divided over the value of the thesaurus (as I had already seen in the comments on Charlotte Rains Dixon’s post above).

The post’s author, K. M. Weiland, explains that, “Some consider it their secret weapon; others regard it as a crutch.” She goes on to cite Stephen King’s opinion from his 1988 essay, Everything you need to know about writing successfully – in ten minutes:

“Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule.”

She explains that King believes the best word is the one which flows from our creative subconscious and if you have to look up a word you probably don’t know it well enough to use it.

I’m not sure I agree with that view, even from as celebrated an author as Stephen King. As I’ve already said, sometimes I know the word and can’t find it. My creative subconscious is working hard on the plot and story and isn’t too concerned with the words it uses to get the idea on the paper. As someone famously wrote (though my Google search has not revealed who – maybe even Stephen King!) A first draft is the version we write for ourselves.

I think Stephen King’s advice is about not using words we have never heard of, just because they’re a synonym for a word we do know. I would like to think writers wouldn’t do that, not least because if a writer doesn’t know the word, chances are the average reader may well not know it either, and so it ceases to function as a means of communication.

I’m still determined to get a paper thesaurus, although I might just wait until I find one kicking about in a charity shop. My sleepy brain needs all the help it can get. Besides, Stephen King probably has a much wider vocabulary than I do!

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Below is the next installment in my novel Two-Hundred Steps Home: written in daily posts since 1st January as part of my 2013 365 Challenge. Read about the challenge here.You can catch up by downloading the free ebook volumes on the right hand side of the blog: 

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Claire sat at the front of the coach and chewed her lip.

This is ridiculous. I feel like a twelve-year-old on a school trip, wondering if the boy at the back of the bus will come and hold my hand while we both ignore each other.

Since the kiss that morning, Neal hadn’t renewed his attentions. She could hear him somewhere up the aisle, entertaining his fellow travellers with an anecdote about a Soho nightclub at 2am. She knew if she turned around it would look something like the sermon on the mount, as the teenagers hung off his every word, as much impressed by his experience as snared by his charisma.

I should be flattered that he pursued me through the forest, although I could wish that he hadn’t. She could wish it, but did she? There was no doubt that it was flattering to have a man like him chase her down. If only she could figure out what he was after. Surely there were easier conquests.

There are probably a dozen girls on this bus only too happy to massage his ego, among other things.

Staring at her iPad, Claire tried to concentrate on the notes she was compiling on the morning’s activities. After the walk around the Ruakui Reserve, they had stopped for breakfast before heading to Rotorua. She’d managed to stay out of Neal’s way at the farm show and during the zorbing. No one was going to get her inside an inflatable hamster ball and throw her down a hillside.

Carl and Julia would’ve had a field day finding activities for me in this damned country. Everybody seems hell-bent on killing themselves one way or another. If it isn’t jumping off something it’s dropping into a hole in the ground or flinging themselves down a hillside. Crazy people. Crazy country.

Their next stop wasn’t likely to prove any better. Agroventures Adventure Park. I don’t even need to read the brochure to know I’m going to spend the next few hours hiding.

The only provocation Neal had offered at the zorbing place was a raised eyebrow.

Maybe he’s given up on his Chicken crusade and has accepted that I am, in fact, a coward.

Even as she thought the words she felt the heat rising in her chest. Why was it so hard to let a man like him think she was afraid?

*

“Right, peeps, here we are. Knock yourself out. There’s the jet boat, the freefall, the swoop, you can bungy or you can take on a friend in the Schweeb challenge.”

The driver grinned at them as they gathered in the car park. Claire felt like punching him and wished she’d paid more attention to the details of the tour before signing up. Surely there was a trip around New Zealand that didn’t involve being guilt-tripped into crazy adventures every five minutes. The old fogies tour or something. Although some of the people she’d seen climbing into the plastic zorb balls earlier that day hadn’t exactly been spring chickens.

“So, Claire. You and me on the Shweeb, how about it?”

Claire felt hot breath on her neck and shivered as the low voice penetrated into her gut. She drew air deep into her lungs before turning round. Neal stood far too close and she took a step back, causing his eyes to crinkle in amusement.

“I don’t even know what a Shweeb is. I don’t think it’s something I want to do with you.”

The primness of her tone made him chuckle and Claire cursed. That damned chuckle was going to be her undoing. It made her legs wobble.

“Come and see, fair maid. No contact required: just a straight fight, you and me. The loser buys dinner.”

He grinned and Claire felt a responding flutter deep in her stomach.

“Or if your muscles aren’t up to the challenge, you can always come swoop with me.”

Claire had seen the swoop. Plunging to earth in a sleeping bag with her arm wrapped round Neal’s was not going to happen, ever.

She wanted to walk away. The urgent message to her feet wasn’t getting through; they remained stubbornly stuck to the ground as Neal turned on his most sardonic stare.

“You’re the type of girl who does Spinning, right? An hour in the gym before work? This should be a doddle.”

Claire bristled at the accuracy of his barb. So, the Shweeb was a bike? How hard could that be? A quick glance down at Neal’s legs revealed the contours of an athlete.

The look didn’t go unnoticed and Neal put his hands on his hips before turning in a slow pirouette. “Like what you see? Think you can beat me?”

No. But, after all, it was only dinner. What harm in that? And she had to do something worth writing about on the blog. A bike ride sounded easy enough.

*

Claire looked up at the suspended monorail pods hanging like giant fruit on a silver vine.

Crap.

She traced the rail with her eyes, noticing the curves and corners and shuddered. Numbly following the chattering group into the launch area, she allowed herself to be guided into the glass pod.

“Your handle bars are there. The gears are here, click up and down. Stay in a low gear or you’ll burn your muscles beyond the point of recovery. Lean into the corners and good luck.”

Claire listened to the instructions as best she could through the buzzing in her ears. Glancing to her left she could see Neal grinning at her through the window.

The cage shook as someone slammed the door shut. Then she felt a shunt as she was pushed out towards the exit.

“Three, two, one, go!”

Claire almost forgot to peddle, but the forward momentum kick-started her legs without applying to her brain for permission. Clinging onto the handle bars she peddled furiously, muscles burning in reminder of the months since her last spinning class.

Just as she was about to relax and enjoy the physical sensation the pod swung out sideways, leaving her stomach somewhere behind on the curve. Claire swallowed the nausea and focussed on her breathing. She didn’t dare try and locate Neal, although she sensed the pods crossing over each other as the monorails weaved and twisted. Even though she knew there was no chance of beating him, Claire dug in as hard as she could.

Claire had lost all sense of how many laps she’d done, until she saw a flag waving to indicate it was her final time round. Dropping into a lower gear she pushed hard, determined not to be humiliated. She pictured the smug expression on Neal’s face were he to win and pedalled harder.

As the pod slid into the finish point, Claire let her legs drop from the pedals. Someone opened the door and Claire turned, relieved to be able to escape her torture chamber.

“Here, let me help you.”

Claire looked up into the face of her nemesis. His skin glistened, but there were no other visible signs of exertion. He’d finished in enough time to come and help her out her pod.

Bastard.

Ignoring the outstretched hand, Claire climbed out of the machine. Her knees buckled and she felt Neal’s arms around her, keeping her from falling.

“Good effort,” he breathed into her ear. “I believe you owe me dinner.”

He waited until she was standing upright, then brushed his hand down her sweaty back; leaving it lingering on her bottom.

Before she could protest he stepped away and was gone.

***