Monica Valentinelli's Blog: booksofm.com, page 101

Fighting the Seriousness of Writing with Silly Stupid

I don't know about you, but I get serious'd out. Yep, there's absolutely no other phrase for it. Just out. I was reading some of my old posts the other day, and I was laughing at how oh-so-very-professional they were. To some extent, they had to be due to what was going on at the time, but I'm straying from that and mixing it up a bit.

Just as one example of how I'm getting serious'd out, is when I think about the publishing industry. The only thing that I'll ever bet money on, is that you never know where an artist — including yourself — will end up. It's impossible to bet on what will happen in terms of success, because you don't know. Even then, it's all relative. Even then.

One of the ways I'm coping with the uncertainty of the industry, is to simply sit back, ignore the news and laugh when I can. I feel there are so many serious discussions, so many things people worry about, it's not healthy to stress about it so much that it creates writer's avoidance behavior. The news has no bearing on my work. The only thing that changes for me is my path, and I'm always adapting/shifting/changing/growing. Always. What I don't lose sight of, however, is the next story.

I was going to offer sage advice, but instead I will offer you two things: an XKCD strip that's extremely relevant and Sushi Cat for some silly stupid fun! Because really, silly stupid fun is a good remedy for super seriousness.

Sushi Cat is a blast if you haven't played it. You guide the cat through sushi-filled goodness to ensure he's got a full belly. Along the way, he falls in love with a stuffed kitty and faces his nemesis: Bacon Dog. There's the original Sushi Cat, Sushi Cat: Honeymoon and Sushi Cat 2. It is addicting, but the levels move pretty quickly.

By the way, here's the strip I mentioned. Note the last panel. I defer to XKCD's wise, wise words of wisdom which are applicable in any field, for any man, woman or child.

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Missing Heroines, Romantic Tension and Doctor Who

Yesterday, I wrote a post about how we need to dig deeper to find a heroic heart. It's timely, since I'm anxiously awaiting the debut of a few short stories out in the lands of publishing. It's also relevant for another reason: just got back from WisCon and finished watching Season 5 of Doctor Who.

It's really difficult for me to read books without tearing apart their structure; it's becoming more challenging to do that with television shows and movies, too. I can relate to the many sides of the writer's struggle — fulfilling the requirements of whatever format the story is in, watching screenplays get tweaked according to the producer's needs, meeting IP guidelines.

However… It still blows my mind that here it is — 2011 — and we still struggle with painting "alternative" heroes: people of color, gay characters and, in many cases, strong non-bitchy women. In my article, I talked about how physical descriptions shouldn't limit a writer, because the hero/heroine's journey is about overcoming a limitation of some sort. If anything, I don't understand why we don't see more diversity in a heroic character, not less.

Enter my frustration with the female characters in Season 5 of Doctor Who. The Doctor is an iconic hero: like Superman, he doesn't change. To understand him, to know him, I try to identify with the characters around him. I cannot, in any way shape or form, relate to Amy Pond. The actress herself isn't the challenge; I don't believe her character's story. I cannot buy that she has fallen into extreme hero worship, where the Doctor has become her own personal Jesus, yet she still managed to fall in love with Rory. She's a character that is only important because of the things that happen around her. She has absolutely no personal power of her own, regardless of what the Doctor says.

What I felt made the David Tennant era so believable, was the sharp contrast in the moments when he was having fun and the moments when he was totally and utterly alone. Donna Noble was my favorite companion, because there was no "love" there. They were best friends. I understood that she couldn't physically handle the power she took into her system, and I was okay with that.

I feel that romance is Season 5′s biggest weakness. The minute the Doctor's Companion starts to go down that path of "My Doctor," it all falls apart because we know — as the audience — there is absolutely no chance in hell of that happening. There's no romantic tension. There's no conflict. There's a very powerful, very suave, unattainable man that no one — with the possible exception of River Song in this season — can ever be with. Even in the episode where the Doctor is a lodger, he still gets the near-immediate attention of Sophie and the infatuation builds, leaving the "couch potato" out in the cold. I don't buy it when Sophie flips the switch when Craig professes his love for her either.

I know it sounds like I'm being harsh, but I enjoy the show immensely and recognize how difficult it might be to write this series. The Doctor is a problematic character to write into a romance, because there is a sort of meta-storytelling tactic going on in each episode. We know he'll never fall in love, so why introduce love interests in the first place? Romantic tension would be something that could be done, provided we believe there's a chance — even a glimmer of hope — that he might end up in the happily never after with another character.

The happily never after is something I feel the show could take risks with, but it doesn't. The continuous storyline about the crack in Amy's wall is really where Season 5 begins and ends. I just wish there was more to emotionally relate to without being pulled out of the story completely. I still like and enjoy Doctor Who, but there's something missing from Season 5: a heroine I can relate to.

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Peanut Butter and Frosting, Starve Better and a Few Links

Okay. So one of the benefits of being an "adult," is that you can have whatever you want for breakfast. Since there are only so many bowls of crispy chocolate flakes I can eat, peanut butter plus chocolate frosting is the equivalent of taking a cruise to a tropical island in the middle of winter. Yes, you may believe that this concoction may be a poor substitute for Nutella, but you would be mistaken. NOM NOM NOM.

But I digress. I got my copy of Starve Better: Surviving the Endless Horror of the Writing Life in the mail yesterday. It's a book written by Nick Mamatas that's full of tips (and non-tips) that, quite frankly, are really relevant for today's writer. It's pragmatic and blunt and the unpopular stance, because it isn't a bunch of "this'll make you really happy" floofie crap about how writing is all sunshines and rainbows. Quite frankly, this is exactly what aspiring writers need to hear because there's a market for writing advice, and it's not always coming from an experienced source. While Mamatas's take on many topics is blunt, he can be. Like any other book or article out there, I'd say take what you want and leave the rest, but his logic is sound on a lot of the tips.

I also received my first issue of Bead and Button magazine. I've got a few projects I've been working on at the moment, but this'll be good to try some new techniques. My style is more modern than frou frou, but the biggest battle is learning the stitches. For that, I can deal with a couple of flowers and crystals before I move on to skulls. Muwahahaha.

Anyhoo, gotta fly. We're going to go see Thor yet again this evening, and I can't wait. Who's my favorite thunder god? THOR.

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[My Guest Post] Difference Between Marketing and Selling Your Books

This month at the How To Write Shop, I talk about the difference between marketing and selling your books. I got the idea for this post after my discussions at WisCon, because a lot of authors are starting to take on more of a retailer role than a marketing one. Internet retail is a whole 'nother ball of wax, and I feel that it's good to make the decision whether or not that's something you want to do.

Here's a quote from the article:

I look at marketing as a way to build awareness of yourself and your work. Sales, on the other hand, is focused on the exchange of money for goods and services. Although they often go hand-in-hand, they're two different things. Saying "buy my book" isn't a marketing technique; it's the hard sell. Telling your readers what your book is about, on the other hand, falls under that marketing umbrella. –SOURCE: Difference between Marketing and Selling your Books at the How To Write Shop

Hop on over there and give it a read. While you're on the site, be sure to check out other articles, too. There are several new contributors and they are broadening the scope of the site. If you're even remotely interested in becoming a professional author or want to relate to those who are circumnavigating the upheaval in the industry, check it out.

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[My Guest Post] Dig Deeper to Find a Heroic Heart

Today, over at the Rogue Blades Entertainment website, I'm talking about the nature of a true hero and heroine in Dig Deeper to Find a Heroic Heart. Take a look:

When I'm writing a heroic character, the physical aptitude and appearance of a hero or heroine isn't as important as what shortcomings that character must overcome. When I'm designing the world and their backstory, I look at limitations within physical, mental, social or emotional spheres. By going about it this way, I am not painting my character into an artistic corner. I'm not saying, "Well, my heroine can't possibly do X because she isn't shaped like X" right off the bat. I have more freedom and more flexibility to work with the character than I would if I focused on gender or simple concepts like "super strong" or "invisible." Sure, a character can be super-strong, but that's not enough to sustain a story. Why are they strong? How does that power affect their self-worth? Their relationship with other people? Their role in society? — SOURCE: Dig Deeper to Find a Heroic Heart at Home of Heroics

Within that article, you'll find my thoughts on why I think it's silly to obsess over the physical aspects of a character, and why I believe we can have more unique heroes and heroines that don't fit into the traditional mold.

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Back from WisCon, Tuesday Blah

Spent the weekend at WisCon and hung out with a number of people and talked on panels. Much of my time was spent talking to new authors and readers, but I did get the chance to hang out with Matt Forbeck, Monte Cook and a few local authors. The show takes on a professional tone; it's well-organized and gives participants the chance to honor authors like the guest of honor, Nisi Shawl. Finally got the chance to listen to Cat Valente speak (the woman is electricity in a jar!) and ran into Kelley McCullough, who read from the debut book in his new series due out in November, and Brad Beaulieu, who's celebrating his new book. More to come on that.

Many of the conversations I had involved some element of concern for the state of the publishing industry. There is a lot of uncertainty, but one of the common pieces of advice I continue to hear is to focus on having a volume of published works (regardless of whether or not you're self-publishing) to ensure a better chance of success.

This advice is no different than what I've heard five years ago or even ten. Technology may have changed, but the mantra focus on the work is a solid one. Worrying about the state of the state doesn't get a short story submitted or sign the next contract. Jobs may come and go — jobs not related to what I want to do — but I remain. I'm an author and an artist, and no matter what I'm doing, that'll always be there.

And I'm okay with that.

If you're visiting my site today, you may have noticed I changed the way the categories show up on the home page. I did that, because I've been getting back into blogging instead of penning stuffy articles here. I've got several places where I'll be writing on a monthly basis that I'll be sharing with you, but this'll be shifting away from the center-left parts of me toward the light. I mean right. Er. Whatever.

Since the con was pretty intense, I needed to decompress. *coughs* Beer! Well, and shooting stormtroopers in the head. Combine and mix vigorously! W00t!

'Course, margaritas are better. Good margaritas, that is. I loves me some tequila.

Yeah, that was pretty anticlimactic, but decompression is necessary and blargh. I don't mind conversations taking on a more serious tone, or even going to those types of conventions, but post-con suxx0rs.

The fix? Engage sushi therapy, fifteen minutes of sunlight, obligatory hugs/torments from sleepy cats and, of course, my next story.

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The IP Crackdown Cometh

I'd like to call your attention to a piece of legislation floating around the Senate right now. Dubbed the "Protect IP Act of 2011," this legislation targets the businesses and parties associated with a website that has illegal files. Read Senate Bill 968, the Protect IP Act of 2011 (PDF) here.

Unfortunately, this legislation is not very sophisticated. I understand why it was introduced, but punishing someone for linking to a source means that you're assuming they know whether or not that content is legal. In many, many cases — they don't. Hell, that's even happened to me before and I do my due diligence.

In my experiences, I've seen sites that are set up as third parties, where they become a filter for illegal content without actually hosting the files. The DMCA does not apply to sites that "link" to illegal content, and I'm inclined to think that this tries to fill in the gap.

I don't expect that this legislation would be used for "a" link, but the way that it's presented makes it difficult to tell how to prosecute. The way this reads — they could. After all, an information location tool isn't just a search engine, it's a website. It's a Twitter feed. Facebook. e-mail. Whatever.

Here's the legal definition:

According to 47 USCS § 231 (5), [Title 47. Telegraphs, Telephones, and Radiotelegraphs; Chapter 5. Wire Or Radio Communication; Common Carriers; Common Carrier Regulation] the term internet information location tool means "a service that refers or links users to an online location on the World Wide Web. Such term includes directories, indices, references, pointers, and hypertext links." — Definition of information location tool from US Legal.com

While the word "significant" was tossed in a few places, I don't think the scope of this bill is apparent. This type of legislation would be extremely difficult to enforce on a link-by-link basis anyhow, unless they were targeting a specific site and tracked the backlinks, to file a class action lawsuit against the "pirate" and all the people who mentioned it. That process could be very time-consuming and, in some cases, result in a lot of detective work to find out where (e.g. which country) the content and website owner lives. What happens if Pirate Site Zimbabwe is linked to by a handful of people in the U.S.? If passed, the prosecution and defense of this bill could get really expensive, very quickly.

I'm concerned about the way this legislation is written and what happens when the law doesn't work according to expectations. Will we see other, more visible changes to the 'net dictating what we can access and what we can't?

Part of the reason why I'm pointing this out to you, is because I feel it's important for you to know what legislation is shaping the internet and make your own decisions as to what you feel about these laws. Regardless of what you believe, please take the time to follow sites like Wired.com and TechCrunch or net evangelists like Cory Doctorow. You don't have to agree with everything (or even like) what these sites report, but education is the first step to understanding how you'll be affected.

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Ditching the Ego in Favor of the Basics

One of the things I've been doing, is nurturing my inner artist. It's something I haven't done in a long, long time. Not because I didn't make room for it, but because I was hung up on something. I was never sure what that was, until a few weeks ago.

My ideas are sophisticated, but I feel like I could never "get there." I used to be in graphic design, but I'd reach the point where I couldn't advance, and then I'd stop. Either out of frustration or because something else, something more important came along. Then I'd meet someone, as I often tend to do, who's very sophisticated in their craft. Either online or off, I get drawn to people whose styles I enjoy. Drew Pocza. Echo Chernik. John Kovalic. Leanne Buckley. Jeff Preston. Liz Danforth. Michael Whelan. Alex Ross. Keith Haring. Mike Mignola.

And the list goes on.

When it comes to my own artwork — whether that be calligraphy or jewelry making or whatever — I'd freeze up because I'd see these very. awesome. people. do very. awesome. things. Only, I could do those things, one day, if I had the time to practice what was already there. What I had already started to do, but abandoned because I wasn't "good" enough to move forward.

To get around that? I've been going back to the basics. I've been focusing on technique and learning about new materials as opposed to worrying about this amazing idea for "X" that's in my head. I'm not selling it or sharing it or doing anything other than worrying about those fundamentals. So far, I've started with jewelry making, but I will be expanding out from there. Each technique I learn I'm gradually moving into more advanced ideas to progress from "simple" to "complex."

Applying This Principle to Writing

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This morning, though, it occurred to me that a lot of writers experience the same thing. You have this awesome idea in your head for a novel or whatever, but you're worried about the execution. You don't know how to get the words to flow right on the page, so you write halfway through a story and you stop. Or you become the perpetual fan of another author, admiring what they do, because you don't think you can do the same thing.

The thing is, dear readers, you can. You really, really can do whatever you want — provided you have the patience to learn. While creativity often has roots in natural aptitude, it's also about having the right mindset and allowing yourself to be creative in a non-judgmental environment. That frame-of-mind requires you to remove all of your objections, all of those people who told you "I can't" or "You're dumb" or "You'll never be…" and focus on the work. Or, as Christine Merrill once told me: protect the work.

Even if you're not an experienced author, you still have work to nurture, to protect. It may be unfinished work or developing work or learning-how-to work, but it's still yours. It's still your baby. If you can't write a novel right off the bat, don't beat yourself up. Would you write a symphony if you just learned how to sing? Sure, you could be a prodigy, but most authors aren't. Like pianists, practice makes perfect.

Instead of making excuses or apologizing for what you can't do: remove your ego. Remove the idea that just because you can't do something, means you're a failure. You are not. Just get that out of your head. Think of yourself as a student and try working on the basics instead. Grammar. Punctuation. Sentence structure. Action scenes. Love scenes. Description. Etc.

And don't let anyone tell you what you can't do. Not right now, not when you're learning. Accepting criticism, dealing with editors/agents/publishers, revising and applying comments to a story is part and parcel to being a writer, but that comes further down the road. For now? Fall in love with the words. After all, if you don't love to write, then whatever else happens next is meaningless, because in your heart — you've already set yourself up to fail. You've said: "I can't do this because I'm not good enough." Instead, I'm recommending that you say: "I'm new, so I'm allowed to make mistakes. One day, I will tell the story that I want to write, but right now, I'm going to focus on learning how."

The nice thing about focusing on my artwork, is that I'll have examples to share with you further down the road. It's a lot harder to explain that with writing, which is one of the reasons why I highly recommend you pick up Nascence by Tobias Buckell. If you want writing advice, this is the book to get because it does something that most writing advice books don't — show you his failures on the story level when he first started out. That, dear readers, is invaluable because that is something that's not easy to teach. That's something you often have to learn.

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For Businesses, Social Media is Still Marketing

Someone sent me "Why I Will Never, Ever Hire a Social Media Expert" this morning and asked me what I thought. In it, Peter Shankman talks about how he'll never hire a "social media expert." It's a scathing article that touches on what's happening right now in online marketing. Namely, businesses flock to a "tool" because that's where the audience is, but they are missing something very, very important — that it is not a replacement for a unified, cohesive marketing plan and that it's one piece of the puzzle.

There are companies out there who run different tools as channels. Their blog is separate from their newsletter which is separate from their social media. In my opinion, this is a mistake because it's a lot harder to maintain because often there's no cohesive message or brand identity. Unless, of course, this is intentional. (Even though, in most cases it's not.)

The challenge with social media and other tools like it, is the cost of implementing them offers an attractive alternative to more expensive options. Compared to direct mail or other marketing tools, they can be pretty cheap for small businesses to use. However, the ease of using something (or its popularity) to reach customers is not a replacement for a marketing plan.

While Peter's article is pretty ranty, I can understand his frustration. It's easy to get distracted by the "shiny," but no new tools will ever replace the core business principles needed to be successful. Just because you have a business focus doesn't mean you know how to message it.

The same principles are true for authors, however that is infinitely more complex. Why? Because we're often individuals who have multi-faceted lives. So, to come up with a marketing plan on our own, without the help of a publisher, marketer or agent, is a lot harder. Right now? I don't have a marketing plan because I am focusing on production. (e.g. Writing, submitting, revising, etc.) In other words, I've decided not to "market" myself, unless it's a specific project, because it doesn't make sense for me right now.

Regardless, having a solid marketing plan and all of the details that come with that is something I continue to recommend and encourage business owners — small or large — to do. Having that plan takes the guesswork out of a lot of things and can avoid embarrassing mistakes, poor collaboration, and help channel creativity where it's needed.

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The Hard Question for New Writers

I've talked about this a little before, about how we live in an age of immediacy. We have many tools that allow us to instantly connect with anyone, anywhere else in the world. I feel this connectivity is a double-edged sword because of something very simple, yet very important to all creative people.

Before I get to the whys and hows and whats of this post, I'm going to post the question first: Are you ready?

So what does that mean, anyway? Even though that sounds simple enough, there's a lot more to it. You see, writing it's just the process of putting words on the page or sticking up a story for readers to buy. It's a journey. It's the kind of journey that isn't exciting or glorious or even fulfilling at first, because it can be very complex and grueling. After all, writing a short story isn't the same thing as writing a novel. Writing a technical report isn't a blog post, and it's not marketing copy. Each form has its own function. Its own purpose.

To go from "new" to "professional" requires something that I feel the internet is obscuring. The steps — some emotional, some not — almost every writer goes through to get from Point A to Point B. The first one, of course, is to figure out what you want to write, and write that. The second is to study that form. I mean, really study it. If you like a genre, read books in that genre. Uncover why you like it. Etc. This process can take a short time or a long time, but the end result will help shift one role away from the other. Instead of being in the position of "receiver" or "consumer," you will start to steer towards being the "creator." This philosophical shift is huge, but often difficult to explain because being a creator resonates through every action you take — how much TV you watch, how many books you read, what music you play. The more you learn, the more you'll go through. Emotionally, physically, mentally and even spiritually.

Where I feel the connectivity is hurting new writers is the way that it obscures and minimizes these processes. The medium facilitates immediate distribution and — in some cases — immediate creation. My blogging software allows me to type quickly and then publish the post with the click of a button. Once you've finished a book, all you have to do is go and publish it. Does that make you a creator? You created something and now it's available for a consumer. So yes, right? Yes, it does — whether or not the work was ready to be published or not.

Earlier in this post, I posed a question. Are you ready? For me, this question means that it's okay to not submit a finished novel or a short story until I feel it's ready. It means that if I want to try a new technique, I can write a story and never submit it. I can write trunk novels or trunk passages and use them to experiment, to practice, to freshen up. With deadlines in the mix, it means that I have to gauge my time accordingly.

The idea that not everything you create has to be consumed is a freeing one, because now the decision comes back to you. If one project isn't ready, then don't submit it and move on to the next one. Abandon it. Use it as a learning experience. This is crucial, but especially when you're new. Why? Because when you're a creator, there is someone else you're creating for — yourself. Allow yourself that luxury. Recognize it. Revel in it. Then, when you're ready, take the next step. Whatever that is. Just don't be afraid to say: "No, I'm not ready yet."

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