Ask the Author: Robyn Bradley
Answered Questions (7)
Robyn Bradley
I love hearing their "takes" and interpretations. I often say that the art of writing isn't complete until "it" (the story, the novel, the poem, and so forth) is in the hands of readers. And since each reader is different, the art is never, ever complete...it only gets a step closer with each reader.
I also love lurking in book group discussions. I get a big kick out of it when readers start to cast the movie version of the book. :) It's always fun to see how each reader pictures characters.
Thanks for asking, Susan.
I also love lurking in book group discussions. I get a big kick out of it when readers start to cast the movie version of the book. :) It's always fun to see how each reader pictures characters.
Thanks for asking, Susan.
Robyn Bradley
I'm never at a loss for ideas. There's always at least one story rattling around inside my noggin, and often more than one.
As for what inspires me to get my bum-bum in the chair and actually, you know, put words down (which is the only way a story gets done)? As many other writers have said, it's not inspiration that gets me to do that...it's discipline, stubbornness, and a dogged determination to finish the darn thing.
As for what inspires me to get my bum-bum in the chair and actually, you know, put words down (which is the only way a story gets done)? As many other writers have said, it's not inspiration that gets me to do that...it's discipline, stubbornness, and a dogged determination to finish the darn thing.
Robyn Bradley
Write. It's as simple as that.
If you want to be a writer, you need to write. I spent most of my twenties TALKING about writing. And I did a lot of reading about writing and publishing. But I didn't do a lot of writing. It's one of my biggest regrets. So if you're thinking about writing, stop thinking and DO IT.
Figure out what it takes to get your ass in the chair. I used to be a firm believer in "write every day," but that's not fair, because it doesn't account for all the different personalities and situations out there. The bottom line, especially when you're starting out, is getting words down on the page, revising those words, and repeating (and repeating and repeating).
So figure out how to make that happen. If that means getting up an extra 30 minutes early and writing Monday-Friday, great. If it means you're a weekend warrior who cranks out five thousand words on Saturdays and Sundays, awesome. If you're motivated by school and course deadlines, groovy. Sign up.
But figure out what gets you writing and producing volume. Then stick to it.
My other bit of advice: be willing to take risks and try different things, even if it sounds weird or even if there are books and writers and teachers out there who tell you that's not how "it's" done. So if you're itching to write a story in first person, present tense because it feels right, even though you just read a book or blog post that says third person, past tense is the only way to go, call bullshit and write it the way your gut is telling you to write it. Yeah, it might not end up being "it," but you need to try it before you can decide, right?
Final bit of advice: don't forget to have fun and enjoy the process. I'm a firm believer that writing is 90 percent FUN if you're doing it right. (And maybe even more than that.)
If you want to be a writer, you need to write. I spent most of my twenties TALKING about writing. And I did a lot of reading about writing and publishing. But I didn't do a lot of writing. It's one of my biggest regrets. So if you're thinking about writing, stop thinking and DO IT.
Figure out what it takes to get your ass in the chair. I used to be a firm believer in "write every day," but that's not fair, because it doesn't account for all the different personalities and situations out there. The bottom line, especially when you're starting out, is getting words down on the page, revising those words, and repeating (and repeating and repeating).
So figure out how to make that happen. If that means getting up an extra 30 minutes early and writing Monday-Friday, great. If it means you're a weekend warrior who cranks out five thousand words on Saturdays and Sundays, awesome. If you're motivated by school and course deadlines, groovy. Sign up.
But figure out what gets you writing and producing volume. Then stick to it.
My other bit of advice: be willing to take risks and try different things, even if it sounds weird or even if there are books and writers and teachers out there who tell you that's not how "it's" done. So if you're itching to write a story in first person, present tense because it feels right, even though you just read a book or blog post that says third person, past tense is the only way to go, call bullshit and write it the way your gut is telling you to write it. Yeah, it might not end up being "it," but you need to try it before you can decide, right?
Final bit of advice: don't forget to have fun and enjoy the process. I'm a firm believer that writing is 90 percent FUN if you're doing it right. (And maybe even more than that.)
Robyn Bradley
Simple: I don't believe in it. ;)
Seriously (and this isn't an original thought), but what other profession is given the luxury of a "block"? Why isn't there plumber's block or surgeon's block or accountant's block?
Do I ever have moments when I don't know where the story is going or (gulp) when I have to ditch 100K words and start over from scratch? Yup. Just like the plumber who might pause, leaning back on his knees contemplating the problem. Or the surgeon who needs to think fast because she wasn't expecting THAT to happen during a procedure. Or the accountant who can't--for the moment (or maybe a few days)--find the issue that's causing all the numbers to appear wonky in his spreadsheet.
But those aren't "blocks." Those are the occasional hiccups we can all expect from life.
So what do I do when I have one of those moments? For me, walking away is the best remedy. Perhaps for the day. In rare occasions, a little longer. Immersing myself in art of some sort--a book, a movie, a museum, a play--can help my mind figure out what I need to do next. I've also started practicing self-hypnosis, which has been a big help. Our subconscious minds hold SO many answers.
I think this quote from author Terry Pratchett says it best: “There’s no such thing as writer’s block. That was invented by people in California who couldn’t write.”
Seriously (and this isn't an original thought), but what other profession is given the luxury of a "block"? Why isn't there plumber's block or surgeon's block or accountant's block?
Do I ever have moments when I don't know where the story is going or (gulp) when I have to ditch 100K words and start over from scratch? Yup. Just like the plumber who might pause, leaning back on his knees contemplating the problem. Or the surgeon who needs to think fast because she wasn't expecting THAT to happen during a procedure. Or the accountant who can't--for the moment (or maybe a few days)--find the issue that's causing all the numbers to appear wonky in his spreadsheet.
But those aren't "blocks." Those are the occasional hiccups we can all expect from life.
So what do I do when I have one of those moments? For me, walking away is the best remedy. Perhaps for the day. In rare occasions, a little longer. Immersing myself in art of some sort--a book, a movie, a museum, a play--can help my mind figure out what I need to do next. I've also started practicing self-hypnosis, which has been a big help. Our subconscious minds hold SO many answers.
I think this quote from author Terry Pratchett says it best: “There’s no such thing as writer’s block. That was invented by people in California who couldn’t write.”
Robyn Bradley
You mean besides the rock star status, cabana boys, and lifetime supply of chocolate and margaritas? ;)
The best thing is being able to create a world, a character, a story that truly resonates with another human being. That's why readers are so important. The art is not complete without them.
The best thing is being able to create a world, a character, a story that truly resonates with another human being. That's why readers are so important. The art is not complete without them.
Robyn Bradley
Short answer: A beast!
Long answer: I've been working on a novel for over two years now, since May 2012. From May 2012 to May 2013, I wrote 60,000 very messy words, but I had a story I believed in. I ditched ALL 60,000 words and started over from scratch.
From May 2013 to the end of February 2014, I wrote 100,000 polished words. The story had an arc. The characters felt real. Yay! My manuscript was complete. Or so I thought.
I gave it to nine beta readers and requested feedback by the beginning of April. As of early June, only four people had provided feedback (and it was mixed at best). An important lesson: no feedback IS feedback.
During this time, I did not ONCE look at the manuscript. I threw it in a virtual drawer and let it be. I returned to it in early June, read the whole thing, cried and ate chocolate and drank wine for a few days, and realized that I'd fallen victim to Beautiful Prose Syndrome.
See, the writing in this manuscript was the strongest I'd ever done. Sentence-to-sentence, the prose was strong. Problem was, the story suffered as a result. That's the main symptom of Beautiful Prose Syndrome. I'd suffered from this sickness before, which is why I recognized the symptoms this time around.
The remedy? Starting over. Again. BOO.
An important point: I don't think all writers are at risk of developing this syndrome. I just know that when I focus too much on trying to be "literary" or in developing flawless prose, my stories tend to fall apart. It's a balancing act, for sure.
Anyhow, after much soul-searching, brooding, and sketching, I *think* I've figured out how to revive this story. It involves turning it completely upside down and shaking it out. So far, so good.
No ETA as of right now. No working title either. (The working title on the complete manuscript was The Morning Circle, but I've abandoned it.)
Long answer: I've been working on a novel for over two years now, since May 2012. From May 2012 to May 2013, I wrote 60,000 very messy words, but I had a story I believed in. I ditched ALL 60,000 words and started over from scratch.
From May 2013 to the end of February 2014, I wrote 100,000 polished words. The story had an arc. The characters felt real. Yay! My manuscript was complete. Or so I thought.
I gave it to nine beta readers and requested feedback by the beginning of April. As of early June, only four people had provided feedback (and it was mixed at best). An important lesson: no feedback IS feedback.
During this time, I did not ONCE look at the manuscript. I threw it in a virtual drawer and let it be. I returned to it in early June, read the whole thing, cried and ate chocolate and drank wine for a few days, and realized that I'd fallen victim to Beautiful Prose Syndrome.
See, the writing in this manuscript was the strongest I'd ever done. Sentence-to-sentence, the prose was strong. Problem was, the story suffered as a result. That's the main symptom of Beautiful Prose Syndrome. I'd suffered from this sickness before, which is why I recognized the symptoms this time around.
The remedy? Starting over. Again. BOO.
An important point: I don't think all writers are at risk of developing this syndrome. I just know that when I focus too much on trying to be "literary" or in developing flawless prose, my stories tend to fall apart. It's a balancing act, for sure.
Anyhow, after much soul-searching, brooding, and sketching, I *think* I've figured out how to revive this story. It involves turning it completely upside down and shaking it out. So far, so good.
No ETA as of right now. No working title either. (The working title on the complete manuscript was The Morning Circle, but I've abandoned it.)
Robyn Bradley
My novel WHAT HAPPENED IN GRANITE CREEK evolved from my short story “Support Our Troops,” which I wrote in November 2007. I always knew the short story wanted to be a novel and even scribbled a climactic scene when I was drafting the short story, holding it in my “Extras” folder, knowing I’d come back to it eventually.
The people in my writers’ group, the Nobscot Niblets, were the first folks to read the short story. Reaction was mixed: people either loved it or hated it. The lovers made me feel good, but the haters were some of the members whose opinions I respected most, and I took their comments to heart.
One member felt the story was a bit cliché, and he was right since I’d originally set it in the south with every stereotypical thing you could attach to a southern family. Another member hated—and I mean HATED—the story, mainly because she couldn’t understand why the main character, Koty, would stay in such a miserable situation. This same member also hated (rightfully so) Koty’s husband, because he was hateful…a total flat character. A person is never all good or all bad, but you wouldn’t know it by the way I’d written Wayne four years ago.
I revised and revised, believing in the story in a way I’d never believed before. Life got in the way for a while. In May 2008, I was moving and finishing up my grad school thesis – I included “Support Our Troops” in it, having worked on it under the gaze of my wonderful faculty advisor, the writer Leah Hager Cohen.
After that, I sent the story out to some literary journals and received some rejections and a few encouraging notes. I shared the story with a friend, Stacy, who sat me down and reminded me that the story was not done, that I had to finish it. She was right, and I knew it, but I didn’t have a clue how to go about completing it. This was the summer of 2008.
Finally, in the spring of 2009, the story was accepted by the editors at FictionWeekly.com. The editors wanted to know if I’d be willing to do some trimming – they felt the story began around page 6, and they wondered if I could condense some of the details and weave them in elsewhere. They were absolutely correct, to the point where I felt many of the details weren’t even necessary. I literally lopped off six pages and started the story without doing too much backtracking or re-weaving.
The short story was published in June 2009. The reaction I got from readers reminded me—once again—that the story needed to go longer. People wanted to know what happened to Koty. So that summer, I sat down and tackled it, having a hazy idea of where the story was going, but not the first clue how to get there.
When you meet two of the main characters in the short story and novel – Koty and her husband, Wayne – they’ve been married for 12 years. It’s an unhappy marriage, but that characterization is unfair, I think, since what marriage is ever entirely happy or entirely sad? It’s usually a combination of both, and I knew it was important to show the full landscape, not simply one close-up shot. Wayne and Koty had a history, and not all of it was bad—parts of it were happy, normal even, and I wanted to show this without getting weighed down in clunky flashbacks.
At the same time I was figuring this out, I was reading The Time Traveler’s Wife by Audrey Niffenegger, which is a book I love because of the story, but also because of the crafting behind it, specifically how the author handles time. Her book inspired me to play with time in the draft of the novel. This was extremely liberating — it gave me the freedom to show scenes from the past by alternating my timeline between chapters: one thread runs in chronological order from September 2008 to December 2008 (in Part I) while the second thread runs in chronological order from 1995 to 2007 (again in Part 1). Part II then jumps ahead six years and takes the reader from March 2014 to May 2014.
Once I figured out the structure, the writing went smoothly — easily, actually. I finished the first draft in the spring of 2010. I did a little work here and there through July 2010. Then, I didn’t touch it again until March 2011, which was when I revised and took a hard look at everything. It went off to my beta readers in June 2011. With their feedback, I revised the final draft in July and August 2011 and fit in some last-minute research that came about in an unexpected manner (more on this in another post). And here we are today with the final version: from “Support Our Troops” to What Happened in Granite Creek.
My hope is the story and characters are real in each reader’s mind. No cardboard characters, no clichés, plenty of surprises, but all grounded in a nitty-gritty reality. That’s my hope, anyway, but, of course, I leave the final assessment up to you, the reader.
Read on!
The people in my writers’ group, the Nobscot Niblets, were the first folks to read the short story. Reaction was mixed: people either loved it or hated it. The lovers made me feel good, but the haters were some of the members whose opinions I respected most, and I took their comments to heart.
One member felt the story was a bit cliché, and he was right since I’d originally set it in the south with every stereotypical thing you could attach to a southern family. Another member hated—and I mean HATED—the story, mainly because she couldn’t understand why the main character, Koty, would stay in such a miserable situation. This same member also hated (rightfully so) Koty’s husband, because he was hateful…a total flat character. A person is never all good or all bad, but you wouldn’t know it by the way I’d written Wayne four years ago.
I revised and revised, believing in the story in a way I’d never believed before. Life got in the way for a while. In May 2008, I was moving and finishing up my grad school thesis – I included “Support Our Troops” in it, having worked on it under the gaze of my wonderful faculty advisor, the writer Leah Hager Cohen.
After that, I sent the story out to some literary journals and received some rejections and a few encouraging notes. I shared the story with a friend, Stacy, who sat me down and reminded me that the story was not done, that I had to finish it. She was right, and I knew it, but I didn’t have a clue how to go about completing it. This was the summer of 2008.
Finally, in the spring of 2009, the story was accepted by the editors at FictionWeekly.com. The editors wanted to know if I’d be willing to do some trimming – they felt the story began around page 6, and they wondered if I could condense some of the details and weave them in elsewhere. They were absolutely correct, to the point where I felt many of the details weren’t even necessary. I literally lopped off six pages and started the story without doing too much backtracking or re-weaving.
The short story was published in June 2009. The reaction I got from readers reminded me—once again—that the story needed to go longer. People wanted to know what happened to Koty. So that summer, I sat down and tackled it, having a hazy idea of where the story was going, but not the first clue how to get there.
When you meet two of the main characters in the short story and novel – Koty and her husband, Wayne – they’ve been married for 12 years. It’s an unhappy marriage, but that characterization is unfair, I think, since what marriage is ever entirely happy or entirely sad? It’s usually a combination of both, and I knew it was important to show the full landscape, not simply one close-up shot. Wayne and Koty had a history, and not all of it was bad—parts of it were happy, normal even, and I wanted to show this without getting weighed down in clunky flashbacks.
At the same time I was figuring this out, I was reading The Time Traveler’s Wife by Audrey Niffenegger, which is a book I love because of the story, but also because of the crafting behind it, specifically how the author handles time. Her book inspired me to play with time in the draft of the novel. This was extremely liberating — it gave me the freedom to show scenes from the past by alternating my timeline between chapters: one thread runs in chronological order from September 2008 to December 2008 (in Part I) while the second thread runs in chronological order from 1995 to 2007 (again in Part 1). Part II then jumps ahead six years and takes the reader from March 2014 to May 2014.
Once I figured out the structure, the writing went smoothly — easily, actually. I finished the first draft in the spring of 2010. I did a little work here and there through July 2010. Then, I didn’t touch it again until March 2011, which was when I revised and took a hard look at everything. It went off to my beta readers in June 2011. With their feedback, I revised the final draft in July and August 2011 and fit in some last-minute research that came about in an unexpected manner (more on this in another post). And here we are today with the final version: from “Support Our Troops” to What Happened in Granite Creek.
My hope is the story and characters are real in each reader’s mind. No cardboard characters, no clichés, plenty of surprises, but all grounded in a nitty-gritty reality. That’s my hope, anyway, but, of course, I leave the final assessment up to you, the reader.
Read on!
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