Alisa M. Libby's Blog, page 8

I sent fan mail

Recently overwhelmed with excitement for Margaret George's new novel Elizabeth I, I emailed her a thank you for her wonderful books – especially The Autobiography of Henry VIII which inspired me as I began to write The King's Rose.

Well, wouldn't you know, SHE WROTE BACK. There are no words to describe how happy this makes me! Seriously, I still can't quite believe it. And her note was so so lovely. Sigh.

So that's my story today. I have upcoming posts about story vs. voice coming your way, soon. You know, stuff about actually writing. But today I needed to share my excitement.

A Discovery of Witches. And books.

I've been enjoying A Discovery of Witches by Deborah Harkness; it's putting me in the mood for some strong English tea, which I'll be drinking during our trip to the Cotswolds and Bath next month! (This book has also cut down dramatically on my TV watching, which has been eye-opening.)

As this is my reading time, I'm overloaded with books: I have Susanna Clarke's Jonathan Strange and Mr. Norrel on my bookshelf, and I've received the novel Elizabeth I by Margaret George – my favorite historical author tackling one of the most fascinating monarchs! I'm so eager to pick that book up next, though it may be a bit hefty for traveling (this is the first time ever that I've wanted a kindle).

And in the midst of all of this wonderful reading time, there remains a little part of me that feels…twitchy. Shouldn't I be writing something? I alternately fantasize about writing, or suffer nightmares about the work I should be doing. My Nanowrimo book is awaiting another rewrite, and she's getting impatient. But I'm still waiting to hear back from my agent about the New Pages I sent him a few weeks ago. Why work on one book when I might be sidetracked by the other? I have to keep these voices distinct in my head.

Maybe I'm picking up these very thick books as a way to tempt fate: certainly I will receive an email about the aforementioned pages when I'm 200 pages into 800. I could make Murphy's law work for me, right? I really would like to hear about those New Pages…

But the book-reading is very important; a part of the writing process, really. I'll worry about my rewrites when we get back from our hop across the pond next month.

writing conferences and retreats

Before signing up for a conference, I spent untold hours trawling the internets searching for the skinny: how are these speakers? sessions? general atmosphere? what's for lunch? So, for your edification: My Personal Opinions on a handful of children's literature events. Keep in mind, of course, that you might be looking for something very different.

Winter SCBWI Conference in New York

The New York retreat was, in my experience, very focused on how to get published: getting an agent, shopping your book around, that sort of thing. Very business-focused. If you're at this stage in the process this might be a good choice for you.

New England SCBWI Conference

This conference is more craft-based than New York, with sessions focusing on writing mysteries, character, voice, etc., and less focus on the "how-to" of publishing (though I'm sure there are those sessions, as well). I found this one really fun and a great way to meet a broad range of writers.

Novel Writer's Retreat, Vermont College of Fine Arts

If you're serious about your book, ready to get a lot of feedback and willing to do the work to make your book better, this retreat is a fantastic opportunity. I did the writing track with free hours for writing, but I might do the critique track in the future; you send your pages in advance, so you get a lot of feedback.

Whispering Pines Writing Retreat, Rhode Island

This one was great, too. I wish VCFA and Whispering Pines weren't at the same time of year, so I could attend both! The speakers were absolutely terrific and inspiring, and there were brief critiques done in the afternoon which were very useful.

Grub Street, Muse & Marketplace, Boston MA

This was fun – a great keynote speaker and very interesting sessions on different craft topics. Personally, I feel more at home in the YA/Children's writer's world, but this was a great opportunity to meet other writers in the Boston area.

Annual SCBWI Conference in LA

This conference is BIG and can be a little overwhelming. There are both craft sessions and more business-related sessions. There were some sessions on publicity and marketing for already-published authors, but from what I saw (and this changes from one conference to the next, keep in mind) the information seemed more applicable for picture book authors. You can still get some good ideas, but if you're looking for marketing strategies for your YA novel, it might be better to steer toward someone with that kind of background.

Simmons Children's Literature Institute

Not a writing conference, but a literature conference filled with AMAZING speakers: Jack Gantos, M.T. Anderson, Natalie Babbitt, Helen Frost, Marilyn Nelson, Nancy Werlin…superstars, all of them. There are also smaller breakout sessions (my favorite was a discussion about "bad boys" in YA literature). While the writing-related sessions are extremely limited, this could be great if you're looking for some inspiring words from well-known authors.

My overall advice for any conference attendees? TALK TO PEOPLE. I know it's scary. I still have trouble doing this: sitting down and joining a group of people who are already chatting and just sort of fitting myself into the conversation (or trying to). But sometimes this is necessary. Part of the value of a conference is to meet people. Take advantage of that opportunity, even if it means striking up a conversation while in line for the ladies room or chatting over lunch with someone you've never met. You are both at a writer's conference, the odds are good that you will have something in common!

inspiration and F. Murray Abraham!

On Friday I went to the gorgeously refurbished Paramount Theatre in Downtown Crossing to see AMADEUS – my favorite movie – on the big screen! This is exciting because I was very small when this movie was released, and I never saw it on the big screen. And the music, the music!

And that's only part of the excitement: the movie was introduced by the man himself, F. Murray Abraham, who won an Oscar for his portrayal of Salieri. And he was so charming! So funny! The whole audience sort of fell in love with him, if we weren't already. He talked a bit about filming Amadeus, and the miraculous "old man" makeup that took 4 1/2 hours to apply. He also said that the work he is most excited about is always what he happens to be doing at the moment, and that he uses everything he has learned along the way and "gives his all" in each performance – but that doesn't mean it's always good. And he laughed! Oh, thank you, Mr. Abraham!

As for the movie, this was the 3 hour Director's Cut. I've seen this movie hundreds of times (it's been my favorite since I was twelve, maybe younger) so it was thrilling to see scenes that I had never seen before. I prefer the brilliantly edited theatrical release, but the Director's Cut did emphasize Salieri's ascetic lifestyle: he gave up everything, worked constantly, and prayed for divine inspiration. Then Mozart showed up: he did whatever he wanted, and he was a GENIUS. Nothing, not marriage or affairs or late night parties seemed able to alter this genius – it persisted, regardless. And there was Salieri, cursed with being able to recognize Mozart's work for the miracle it was. Cursed!

So here's a clip from the movie, because I can't help myself. Enjoy.

Whispering Pines

One of my favorite pieces of wisdom from Whispering Pines retreat last weekend, from the wonderful Cynthia Lord, author of the Newbery Honor Book RULES:

"Books take the time they take."

This is a writer to listen to. These are words to write on my walls as a reminder! Perhaps a tattoo. Cynthia, thank you!

Whispering Pines was a great success – I only attended on Saturday, but I went home FULL of new techniques. That said, I'm too close to my WIP to have a real opinion on what I produced, but I will say this: starting over can be a GOOD thing. Seriously. If you think you need to start over, don't beat yourself up about it. You've made an extremely valuable realization about your book, and now you can proceed down a new, better path. (Here's hoping my agent agrees with me.)

VCFA Novel Writer's Retreat

I apologize for my silence! I've been dealing with the roller coaster of emotion that is a full rewrite – made worse by the fact that I'm back to work next week and want to get as much done as possible.

Also, I spent last weekend at the Vermont College of Fine Arts Novel Writing Retreat. Lovely! Amazing! I can't say enough good things about this retreat. It was a long weekend in the company of other writers, with lectures by K.L. Going, Tim Wynne-Jones, and Claudia Gabel – voice, dialogue, and plot structure. The talks were inspiring and the general vibe was so invigorating – all kinds of writers at different points in their careers, different backgrounds, ages, etc. So much fun! I will definitely be back next year. And the fact that there were six MFA alums present certainly says a lot about the quality of the VCFA program.

In other news, Kings Rose (the race horse) won NZB filly of the year! I got very caught up in this race as news of her progress kept popping up on my Google Alert (for obvious reasons). So, congratulations to Kings Rose, my favorite filly!

In other news…oh yeah, I have to get back to that rewrite. There will be a lot of rewriting this year, I fear. But maybe it's a good thing? Taking a new look at an old project can be eye-opening. I just hope I like what I see once my eyes have been, well, opened. And if all else fails…I have gelato in my freezer.

Must get back to work, but I will blog again soon. Conference season is coming up, and I want to share with you my experiences at the conferences I've attended. I hope this will be useful as you're planning what to attend.

writing and attitude. don't upset your muse.

I've told you about how I'm slow, about how these fantasy projects have taken a long time to come together. I had writer's block, and then many false starts, and I've often felt like I'm starting all over again and that my career is vanishing (sigh).

Here's something I've learned: if I sit down at my little writing desk and stare at my laptop filled with frustration and self-loathing, then I'm done before I've even started. I've done this; writing became a routine punishment. I would sit down, my thoughts screaming: "Figure it out! What is your problem? Just sit down and figure this book out and write it, for pete's sake!" And I hated myself, and I hated everything I wrote. No matter how fantastically awesome that basic idea may have been, I was destroying it with my attitude, and my general lack of inspiration. But why would the muse have wanted to visit me in that frame of mind? My muse is a skittish, dreamy creature. She doesn't want to hang out with me when I'm in self-pity mode.

I still want this book to work out. I still have a huge, crushing desire to write another book (not just a pile of pages I'll shut up in some desk drawer with a disgusted sigh) and to get a contract, get it published. But my book doesn't want to hear those thoughts. My book wants me to sit down at my writing desk because I want to write. Not because I want the work done yesterday, but because I actually want to settle in and enjoy the work. This attitude adjustment doesn't ensure that I'll produce something great, wonderful, finished, but it means that I might produce something worth working on. And I won't be a miserable creature in the process.

how to write a book the hard way (self doubt and ludicrous expectations abound)

I've been struggling with projects lately. By lately I mean: since The King's Rose was released. Technically it started even before that, when I was casting around for ideas to replace the Catherine Howard-sized hole in my heart. And nothing would fit.

First, there was writer's block. That was unpleasant. I think I'm out of that now. Since 2008/2009 I've been working on some contemporary fantasy novels. But that doesn't mean I haven't been frustrated. There has been a lot of revising, starting over, doubting myself. A lot of whining: what if these ideas don't pan out? What if I never write another book?

A moment of perspective: Writing a book takes me a long time. It always does. And in this case, I'm changing genres. I thought this would be liberating (and, in some ways, it was) but it was also daunting and difficult. My historical fiction bag of tricks wasn't altogether useful, and my fretting over plot development often eclipsed my enthusiasm. I couldn't rely on the good graces (or, more accurately, horrid behavior) of some fascinating historical character to deliver action, setting, and endless inspiration. I had to find all of that in myself. After feeling that the well had run dry, that was a very tall order.

And it's still a tall order, but I haven't given up yet. There are times when I feel like I'm not getting anywhere, or I'm progressing SO SLOWLY that I berate myself for my lackluster pace. But I'm still trying. I hope something good will come of it, but until then I need to stop beating myself up about all the time it's taking to get to my next finished book, my next deal. I just need to chase inspiration wherever I find it. And write.

beginnings and back story (in which the pandas teach me a lesson)

So I'm rewriting. Starting over. Or, at least, planning to. Once I can figure out this story, and stop writing (and re-writing) the first page.

For many drafts – too numerous (and depressing) to count – I've struggled with this character's back story. I want to start the story when she arrives in it, when the story actually starts – in this case, it's during a trip to a different country. Still, we have to know a little bit about her life back home. But does that mean we actually need to start while she's still at home? Do we need to see her home, her family life? It impacts the character, of course, but do we need to see it in real time?

The back story was this huge albatross hanging over me, weighing my story down. But then when I thought about the most important points – the why of her trip, the who she left behind – I was able to boil these down into two rather succinct paragraphs. I can fit these into my opening, easy.

But ghosts of craft books of my past gnawed at me – particularly Hooked by Les Edgerton and Writing the Breakout Novel by Donald Maass. In his book, Maass says not to include any back story in the first 50 pages of your manuscript. 50 pages! Seriously? That is a tall order. And I've just got these two little paragraphs. I can slip those into the action of the first scene, can't I? I've read plenty of books that have done so. And then I can move on with my story without dealing with these particular details of back story. Wa la!

Then I was having lunch with my writer-friend Anna. We have often bemoaned the "50 page" rule as too difficult. But when I told her about slipping my paragraphs into the first scene, she grimaced (in a very endearing way). She suggested that I think of my first page and how it would read on First Page Panda, our site which features the first pages of new and soon-to-be-released books.

As soon as she said this, I started thinking of the pages I've read on FPP, about what grabs me in a first page. I revised my first page, and I kept moving those paragraphs of back story down the page, until they weren't on the first page or in the first scene at all. I don't even know if they'll be in the second scene. Maybe part of it could be broken into separate sentences, and sprinkled throughout.

It's still an ongoing struggle, this back story thing. It depends on the book, and the writing style, and all of that. But writers: beware of your back story! The danger is this: it may be informing the character, the action, but it's not actually moving your story forward.

everything I need to know I learned from my basset hound

Well, not everything. But I think I could learn a lot about living in the moment from this animal. She doesn't know of any other moment to live in. She doesn't seem to remember the disagreements of yesterday, and – though she cowers at the site of the white bottle of earwash - she does not anticipate this moment until said bottle appears.

Perhaps she has a very active internal life. She spends most of her time fast asleep, pink belly exposed; she doesn't seem particularly haunted. But she does dream: legs twitching, slightly growling, and sometimes a woof – not loud enough to wake herself. Sometimes she wags her tail while fast asleep (I imagine this dream involves bacon). She's a hound who prefers naps and enjoying the comforts of home (a blanket for my weary bones, yes, please) but maybe in her dreams she enjoys the thrill of the hunt. It is in her blood, after all.

As for me? I'm looking forward to a weekend at home, with basset and an outline of my rewrite. It's discouraging to find that a rewrite is necessary. But at least I'm still drawn to write this book, instead of giving up altogether. That's optimistic-me talking. You don't want to hear from pessimistic-me. I'm trying to keep a lid on her crap.