Pen's Blog - Posts Tagged "writing"

It is one thing to claim “When it’s my time, I’m ready to go!”

It is most decidedly, most definitely, a completely different matter when that moment is staring you in the face.

I spent seven months writing a trilogy to self-publish. Another five months spent proofreading, editing and rewriting. Finally, I reached the point where it was time to let go: it was time to publish the trilogy and allow it to stand on its own.

I decided to try and publish all three books on June 12, 2013. It was the anniversary date of the day I began writing the books. I thought it would be neat to publish on that date.

As it turned out, I didn’t feel well that day. I had taken that day off from work for the express purpose of publishing the books via createspace.com. All I could do was work on them piecemeal to complete some of the details required to get them to final publication.

I missed the self-imposed deadline and decided to aim for June 14th which was my father’s birthday.

I felt absolutely horrible. There was a pain in my shoulder that wouldn’t go away. I figured it was a pulled muscle. Then I contracted what I thought was bronchitis. I’ve had bronchitis before. About the only thing to be done for it is lots of sleep, lots of fluids and plenty of over-the-counter meds. I couldn’t see a doctor at that point but that’s another story.

I couldn’t get to work for feeling so bad. But so determined was I to get those three books published that I intermittently worked on them; there simply is no daunting the creative spirit.

I finally managed to get all three books copyrighted on the 14th and the official publication date is the 16th – Father’s Day. We used to tease Daddy a lot about his birthday and Father’s day oftentimes falling so closely together. We always treated them separately – they were two different days after all – regardless of how much grumbling Daddy did about that.

Once the books passed the review process, I ordered review copies on the 18th. I felt somewhat better and was ready to return to work the next day. There was nothing more I could do with the books: a careful once-over when the copies arrived and I could then put them out there for sale on Amazon.com.

All was right with the world.

I settled in to relax and watch a little television until it was bedtime.

It happened around eight o’clock.

I couldn’t breathe. Short, almost painful puffs of air were all I could do. It felt like drowning. It felt like suffocating. Even thinking about it sends surges of fear and panic through my veins.

And there it was: this could possibly be that moment.

That realization brought an entire barrage of emotions to the surface, the foremost of those being the truth: I’m not ready.

For all my talk, I wasn’t ready.

Or maybe a little voice told me it wasn’t my time.

Whatever the reason, I chose to get help rather than to wait and allow the fates to determine my demise.

As it all turned out, I had been walking around for about a week with pneumonia. But it was the heart attack that triggered the difficulty to breathe.

One wiseacre (who shall remain nameless but she knows who she is) asked me if I “heard the angels sing” as in some people see their lives flash before their eyes and some people hear the angels sing before they die. I responded with, “No, I didn’t hear the angels sing, but I didn’t hear no devil laughing, neither.”

I find a certain irony in the fact that this all occurred within hours of my ordering proof copies of the trilogy. Was there some significance to the fact that it happened after I had everything all finished and published? Was there a message to be found in the fact that I had yet to see finished copies of the books? Like maybe I should stop procrastinating so much and get on the stick and get my work out there?

Or maybe the incentive was in wanting to see the finished products, to hold them in my hands.

I don’t know, really. The Universe speaks in symbols rather than in plain English and I’ve never been very good at interpreting symbolism.

And I would like to clarify that the books weren’t what led to the heart attack. Writing gives me great joy and pleasure, even more once I hold the finished product in my hand.

No, I have to admit it was my own doing. A lifetime of bad eating habits, even more poor exercise habits and not keeping track of my blood sugar.

But all that is changing.

I take this as a new lease, a second chance and about a dozen other clichés appropriate for the experience. It is definitely a prime opportunity to put priorities in order and realize what is really important in this life.

With that in mind, I have a lot of writing to do.

Everybody's busy. Between working, going to school, taking kids to baseball practice, ballet, the library, grocery shopping, doing laundry and a myriad of sundry chores, who has time to write?

Answer: You do.

It's a common complaint I hear a lot. I, too, often find myself pressed for time. But there are ways of squeezing in a little extra time to work on those writing projects.

1. Pens and paper.

Most writers know to keep pens and a small notebook handy to jot down the occasional idea, but not many realize how valuable these tools are. Invented long before the computer age, these two items are much easier to carry around than even a laptop, are much more lightweight, do not require electricity or a signal and the batteries never die. The pen may occasionally run out of ink, but that's why you always carry extras. I suggest using a steno pad or one of those small fat notebooks that fit easily into a purse, tote bag, briefcase or even your pocket.

Though it may seem outdated or archaic to some to use pens and paper, they are still more convenient to use than a laptop while commuting or on your lunch break. It is also guaranteed that few would attempt to steal a notebook and pen right out of your hands as they might a laptop or other electronic device.

2. Commuting

Speaking of commuting, if you have access to public transportation, consider using it. Take those pens and pads with you. You will be amazed at how much writing you can accomplish if you leave the driving to someone else.

Within one week, I filled half a steno pad with writing. I can write very small and cramped when I need to in order to make the most use of a notebook. The pages I had written equated to 50 typewritten 8 ½ x 11 pages. Those 50 typewritten pages were then equivalent to 80 pages in a 5 x 8 inch format. It brought the total page count of my novel very close to 300 pages. That was just in one week of writing during my commute and lunch breaks.

3. Get up early or stay up late.

Buy yourself a half hour of writing time by setting the alarm clock half an hour earlier. If you have kids or other people to care for, make sure it's half an hour before everyone else gets up. Or stay up half an hour after everyone else has gone to bed. This may be a good time to do some research for some of those writing projects. Either way, focus on your writing project for that half hour and you'll get a lot more done than you think.

4. Fifteen minutes.

Force yourself to take those two fifteen (or ten) minute breaks at your job. It may not seem like very long, but you can get a good bit of writing done when you focus on it for ten or fifteen minutes. If nothing else, it will allow you time to focus on an idea or a character long enough to get some thoughts organized for later writing. Those fifteen minutes of writing could very well lead to your fifteen minutes of fame someday.

5. Waiting Time.

Waiting to see the doctor, dentist or any other appointment, waiting for a train or a bus, waiting on hold: all these are excellent opportunities to get some writing done. Everyone knows that, even when you show up early for an appointment, chances are you are going to be waiting for at least a good fifteen or twenty minutes or even longer. Use that time to work on your writing project. Whether it is three minutes or thirty minutes, use it to your advantage.

What can I write in three minutes, you may ask? I wrote a complete dialogue between two people by writing one or two lines during the 45 seconds it took the MARTA train to pull into the Five Points station; each day for a week I wrote one or two lines during that 45 seconds. Yes, it needed a little work afterwards, but I got the basics down. It can be done.

6. Lunch breaks.

A half hour or an hour lunch break can be an excellent time to move your writing project along. If you like taking lunch with your co-workers, it's an excellent break, but take at least one or two lunch breaks during the week to spend some time working on your writing.

7. Weekends and Holidays.

A prime time for those of us working during the week to catch up on some writing. Let it be known that you will be spending some time during the weekend, even if it is only a few hours, to write. Hire a babysitter for the kids or arrange for them to have a play date with some friends. Send the spouse out shopping. Ask for the cooperation you need to do what you need to do. Chances are, if you've been writing during the week, you will have a good bit of writing that needs to be typed, organized, fleshed out or completed.

No, don't spend the entire weekend or holiday writing. After all, everybody needs a little downtime. But at least consider setting aside a certain number of uninterrupted hours for your writing. You'll be glad you did when everything begins to come together.

Though it may seem as though you are working all the time, you'll still have plenty of "downtime" on days when you don't feel like writing or aren't inspired to write. But on those days when you do feel like writing, you can steal time even if it is only ten minutes here or fifteen minutes there.

Stealing those precious minutes is an investment in yourself as a writer. And, by stealing those minutes, you'll be amazed at how much writing you can accomplish. It does add up.

That's how I managed to write The Sword of Tilk Trilogy (Book One: Worlds Apart) in 7 months!

Now go steal some time!

A friend of mine recently asked me for advice. She has dreams and ambitions, but feels she has reached a place of stagnation. She feels she spins her wheels, but she is stuck in a rut she cannot break free from. Being in this position has her discouraged and depressed and she’s not certain what to do. She asked me if I had any suggestions.

“Journaling,” was the first word I uttered.

Journaling isn’t the only answer. It isn’t the ultimate answer. But it is a powerful tool any woman can carry throughout her journey. It is a safe space through which to vent anger and disappointment; express joy, triumph and sadness; plan, implement and celebrate accomplishments.

I, like most women, have faced numerous difficult situations in my life. Each time, keeping a journal has helped see me through those times. It has helped me to gain insight into myself and the things that I need and the things that I want — and to understand the difference between the two.

On the first page of my journal is a title: Letters to a Benevolent God. This is exactly how I use my journal. I write a letter to a kind, loving, forgiving God. I espouse everything from my wonder at being alive and aware to my aggravation with my job; my dreams and goals and the steps I must take to achieve them; even my disappointments in the people in my life. Then I leave it up to the authority of this Higher Power to show me what I must do and to help me in dealing with life’s challenges.

I suppose it’s a lot like praying except I put it down on paper.

You don’t have to give your journal a title. That is my own unique idiosyncrasy. Feel free to implement your own unique idiosyncrasy in the process.

As you journal, don’t hold anything back. Don’t be afraid to be angry, to vent your frustration, indignation or aggravation. Don’t be ashamed to cry. Don’t feel guilty about bragging. This journal is yours. This journal is YOU.

After you have journalled for awhile, go back and read what you have written. You may be surprised to find you have taken a great many steps since your initial entry. You may be disappointed to find you have taken a few steps back. However you feel and whatever you find, it is up to you to interpret it and then discover what it is you need to do with this knowledge.

There is always a discovery about oneself to be made. Sometimes, that discover can be life-altering, or eye-opening. Some discoveries can help you see your way clear of something. Some can put you into utter turmoil, but, most often, it is turmoil that must be faced and processed before one can move forward.

In a discussion of journaling with another friend of mine, she expressed concern over someone reading her journal once she is gone. It is a legitimate concern. After all, most of us do not wish to hurt people with our words, whether we are there to defend ourselves or not. I presented her with a solution to this dilemma. Entrust the location of your journal to at least one person whom you trust implicitly. Instruct this person to acquire and destroy your journal in the event anything should happen to you.

In all truth and honesty, though, I wouldn’t suggest having your journals destroyed. Who knows the value your journals may have for future generations? I’m not speaking in terms of financial value, but rather the intrinsic value of what a woman’s life was like at the turn of this century. Your individual insight may prove very poignant to future generations. Your unique journey may be inspirational to someone else.

Think of the correspondence between Susan B. Anthony and Elizabeth Cady Stanton. The world may never have known how industrious or passionate these two women were about women’s rights to vote had that correspondence been destroyed.

Archeology is forever finding written communications which enlighten the rest of the world about what has come before us.

This is not to say your journal will make history. This is just to say that one never knows what actions you make today may make an impact a hundred years from now.

Now, please excuse me, I have a Letter to write.

Every writer has something which inspires her or him to write: something which provides fresh ideas or stretches the imagination; something which prompts a writer to strive for something which she or he feels is extraordinary.

It could be anything. A story on the six o'clock news. A conversation overheard in a restaurant. A word one sees in passing.

Everything is susceptible to the creative mind and serves as fodder for creative endeavors, whether it be writing, art or other mediums.

I was inspired to write the "Sword of Tilk Trilogy" by a television show.

I don't watch much television. There isn't much on that appeals to me these days. Most of the time I prefer to write rather than watch television. So when a series comes along that captures my imagination, I get pretty excited about it.

So it was with "Once Upon A Time."

Even before the first episode debuted, the previews had me intrigued. What could anyone possibly do with those classic fairy tales? It piqued my interest and I could hardly wait to see it.

I was not disappointed and eagerly awaited the next installment.

The more I watched, the more these ideas began to form in my head. Characters and scenarios I had never envisioned took up residence in my imagination. As all writers know, the only way to deal with those visions is to put them down onto paper and bring them to life.

When I began writing the story, I had no idea it would blossom into three full-length novels over 100,000 words each.

Granted, they are nothing at all like the show. There are no fairy tale characters, except for the ones I created.

But it was the creativity and imagination that goes into the show that sparked my own. It was the strength of the characters (especially the women) and the idea of different worlds co-existing alongside one another that sent my muse into overdrive. It fired my motivation to focus on the story to see what the characters would get into next, both on the series and in my books.

Once I had finished, I could hardly believe what I had done. But there it was.

I won't hand over all the credit to the series "Once Upon A Time." There were other elements involved. The word "Tilk" I saw in block white letters on the side of a train car. The Grifflestump came from a pattern I saw in the stippled painting on my ceiling. A number of elements came together to help me form the images and words which became those novels.

But it isn't often I see something on television that spurs me into writing mode. At least, not like this. Certainly not enough to write over 400,000 words.

It is kind of funny, though. Each time I am inspired to write something, whether it be a story, poem, an essay or a novel, I am left with the memory of what inspired me to write it in the first place.

I got a lot of memories.

My imagination has moved on to other things, other writing. But I'm still a big fan of the show.

We writers take our inspiration from wherever it comes.

People in general are multi-faceted; we each have many different sides.

Each person has a side they show in the workplace and a side they show in social situations; a side they show to family and a side they show to friends.

I believe, however, this is more true of women than of men.

Women must adapt quickly for their own survival, Men adapt, too, but they have the unique advantage of relying on brute strength and the use of physical force to ensure their survival. Women must rely on wits, inner strength and courage, making women the more flexible of the species.

At the time I wrote the “Sword of Tilk” Trilogy I didn’t realize I had incorporated two different sides of women in the twins. Perhaps it was a subconscious thing: our subconscious works much harder for us than we realize.

Barbara is insecure, lacking the confidence to stand up to her boss. She feels too trapped in the struggle for daily survival to challenge herself to create a better life for her family. She is the woman who realizes she has untapped reserves of strength but is too afraid to explore them. It requires her being taken to a completely different world in order for her to fulfill her true potential.

Her twin sister, Tiernan, is quite the opposite. She is rambunctious and boisterous and runs headlong at a challenge with her sword drawn. She carries her devil-may-care, spit-in-the-eye-of-death attitude like a badge of honor. And rightfully so: she was raised to be fearless to protect her kingdom.

These two characters are representative of many women. Many women have that insecure side: the uncertainty of her own abilities and capabilities and the mistrust of herself to discover them. This is the side that goes to the job to collect the paycheck that keeps her head just above water; the side that dreams of a better life but feels that hope for that dream is lost.

This is the side of women which Barbara represents. Living in our world, she goes to the job, does her work, collects her pay. At the end of the day, she struggles to pay the bills and still feed her little family, knowing all the while that she is meant for something better, something more meaningful.

But there is also that boisterous side. This is the side that, when provoked, will raise its head in defiance. It will tap that reservoir of strength to show the woman and the world of what she is capable. It will fight to protect what she holds dear never losing sight of the hope that dreams can be real. This is the side that runs barefoot in a rainstorm, hair whipping behind her so that she can see the rainbow on the other side.

This is the side which Tiernan represents. Having grown up in the primitive Tilk Realm, she was taught from a young age to be a warrior: the warrior which lives deep within all women, the warrior willing to fight to defend that which she loves.

Those are only two sides of women. Most women have many more sides to them.

I am just grateful my subconscious captured those two sides for those two characters.

Pat Benatar was one of the biggest rock’n’roll icons of my youth. You couldn’t turn on the radio without hearing a Pat Benatar tune rocking out the speakers. Couldn’t resist turning up the volume, either.

Her music has staying power, especially with those of us who grew up listening to it. The lyrics and the music are appropriate for any time period, any age group.

I suppose that is why the music of Pat Benatar served well as background music for writing the “Sword of Tilk” Trilogy.

I can’t speak for any writer other than myself. For me the writing process engages every one of my senses. When I am working on a novel I must have the proper lighting for my eyes. Within reach must be the proper drink: ice water, coffee, tea, or Jolly Rancher Singles-to-go, green apple if you please (believe it or not, this writer does not require alcohol, mostly because of the diabetic thing).

Of course, my fingers must be on the proper keys on the keyboard. Or, if I am editing the hard copy, the paper, a notebook, two red pens, a highlighter and a black pen pervade my sense of touch.

As for smell, the windows are open (if it’s warm) to allow in fresh air. If it’s cold outside, I usually burn some incense (Indian Gold incense, Gold scent).

For my sense of hearing there is usually music in the background. Most of the time it is a mix: I even throw in some classical music because it tends to be less distracting.

But for the “Sword of Tilk” Trilogy, it was all Pat Benatar.

When writing a novel, I visualize each scene as an actual scene from a movie, complete with background music. With some novels, certain pieces of music run through my head again and again.

So it was with “Tilk.” Almost every major scene was punctuated by Pat Benatar music.

For Book One: Worlds Apart it was “Invincible.” Probably because it was a song of rebellion. It was used as a theme song from the 1985 movie “The Legend of Billie Jean” a movie I never got the opportunity to see. From what I understand the movie was also about the rebellion of a teenage girl making the song an appropriate accompaniment.

It is a very strong song and one I feel is appropriate for any situation in which a protagonist finds herself or himself facing a challenge, standing against the odds. Heck, it’s appropriate for the world today at large as far as I am concerned.

Each time my character, Barbara, had to face a challenge that song wound through my head as I wrote the rough draft, as I edited and proofread. Even now, if I go back and read the prologue I hear “Invincible” winding through my head as I visualize Barbara riding Galindore along the empty road with the thunderstorm gathering behind her.

For Book Two: Strange Land “All Fired Up” and “Le Bel Age” carried me through the writing. For some reason I don’t understand “Le Bel Age” which means “the good age” makes me think of medieval times when men fought with swords and wore armor. (Yeah, I told you I didn’t understand it). “All Fired Up” is just one of those songs that make me feel hopeful even when things are going terribly wrong: “Now I believe there comes a time/when everything just falls in line/we live and learn from our mistakes/the deepest cuts are healed by faith” just makes me want to cry with the absolute joy of believing those words.

The last installment of the trilogy intrigues me the most. For reasons which, again, I do not understand, “Little Too Late” kept popping into my head for the writing of the third book. It is a song about a guy who cheats on his girl which has absolutely nothing to do with Book Three: At Sword’s End. But maybe because the beat of the song has such a celebratory attitude despite its obvious meaning it was appropriate for winding up the trilogy.

In my mind’s eye where each of these books lives, I can visualize all the characters at the end of each book/movie. As the credits roll, I can see Pat Benatar and her band performing each song appropriate for the book even though none of them know where they are. I can see the characters dancing to the tune – heroes and villains alike.

That, of course, is what is in my head. Scary though it might be.

Music is a very powerful force. It is motivating and inspirational. Music can make or break a movie.

Or a trilogy.

Like any good movie, a good book requires the proper background music. Writing with a soundtrack can help boost creativity and productivity.

What type of book are you writing?

•Murder mystery
•Science Fiction
•Western
•Romance

Each of these categories has appropriate background music. Think of the last Science Fiction or Romance movie you watched. What type of music was in the background? Was it dramatic? Was it light-hearted? Did it enhance your movie-going experience? Whether you paid attention to the music or not, some of it probably stayed with you.

For that reason, using background music while writing will make a book stay with a reader.

Choose the Music for Your Writing

It stands to reason that Country Music may be best suited for writing a Western novel. But don't rule out listening to Garth Brooks or Trisha Yearwood for Romance. Likewise, consider Classical for Science Fiction or a Murder Mystery.
Some of the music of Phillip Glass is well-suited for stories of vampires, ghosts or the darker side of human nature. Many of his instrumentals are short and concise but have a deep sense of foreboding.

The Book Chooses the Music

There are times when music fits perfectly with whatever you’re working on.

For instance, for a recently completed Trilogy, all I heard was Pat Benatar.

•Invincible accompanied my protagonist as she rode her black steed, Galindore, to rescue her daughter

•Le Bel Age was background for every sword fight

•All Fired Up was instrumental in helping my protagonist face her worst fears

The strength and the wherewithal in the Benatar tunes helped to draw out the strength in my characters. My protagonist in the Trilogy lacked self-confidence in the first installment. By the final book, she was very comfortable with herself being the Queen of a Realm.
Song Lyric Interference

Afraid song lyrics may interfere with your writing? Give Classical compositions a try. Many movies utilize Classical music to set the tone. Those Classical pieces serve just as well when writing. A number of Classical pieces are available for free download at www.amazon.com. The music of Mozart, Beethoven, Bach, et al, are timeless pieces and capable of evoking a myriad of emotions and visualizations.

It’s About the Reader, Too

Using music to set the tone for writing doesn’t just benefit the writer. It also serves to enhance the reading experience.

Like music enhances a movie, the music you hear in your head while writing will enhance every aspect of your writing. It will attune you to dialogue, character development, emotions and descriptions. The stronger and more realistic the visualization, the better you will write it.

The reader will not be able to hear what you hear. She or he may have an altogether different soundtrack in mind while reading. Or no soundtrack at all.
Regardless of what the reader hears or doesn’t hear, use your favorite tunes to create. The important thing is that you use the music to reach your best writing potential.

Any tool a writer can use to enhance her or his writing is invaluable. Create a Playlist that will enhance your writing experience. It is sure to flow over into the reading experience as well.

The American Haiku form differs vastly from the original Japanese Haiku form.

Not that there is anything wrong with that. It is often necessary to Americanize things – from writing to food – so that these things are more palatable to the American palate.

As a result, American Haiku forms follow specific standards. The most familiar is the 5-7-5 syllable count. It is the most recognized and accepted form of Haiku in the United States. As a standard, most Haikus have a nature theme to them. This does not preclude a Haiku tackling other topics. But the nature theme gives more impact to the Haiku itself.

There are other lesser-known forms of Haiku. There is the Lune which consists of 3-5-3 word count or 5-3-5 syllable count. And the Zip which consists of a total of 15 syllables written on 2 lines with a caesura or double space between words in the middle of the two lines.

Examples:

Lune:

Grasshopper

blade of grass
new roots in earth’s soil
home to grasshopper

Zip:

Feast

red-tailed hawk | circles in azure sky
spots dead carcass | a feast

(The bar represents the caesura between the lines).

Regardless of which form of Haiku is written they are all designed to elicit emotional responses from the reader.

I recall an English teacher (I cannot recall her name) who defined Haiku as follows: it should be stark. Each line should be able to stand on its own. It’s best to use contrasting images. It should take the reader by surprise. And it should make the reader feel something.

Not every Haiku written follows every one of these guidelines as set forth by that wise woman. But one guideline each and every one should follow is that last one: it should make the reader feel something. Everything I write tells a story. But it’s about more than telling a story. It is about eliciting an emotional response in the reader.

This is one of the most important jobs of the writer. An emotional response has a lasting effect. A reader will remember how a certain piece of writing makes her or him feel and will be more likely to share that experience with others. Painting emotions with Haikus takes practice and careful consideration. It is imperative to give thought to the words used. Considering how these words make you feel gives you an idea of what the reader may experience.

Innocent

the mountain lion
poised to pounce upon its prey
innocent rabbit

Do you sympathize with the rabbit? Or do you feel the lion has the right to survival?

Try this one

Warm

snow falls in fat flakes
warm fingers
cup of hot choc’late

This one immediately brings to mind a cold winter day. The feelings of safety and comfort from being inside where it’s warm when it’s cold and snowing outside are the emotions this Haiku elicits.

A Haiku should take the reader on a wonderful journey in a short span of time. Within that short span of time the reader can experience every emotion from fear to comfort to romance to elation.

Consider your pencil, pen or computer a paintbrush when writing those Haikus. Make them feel something.

The subconscious mind is a marvelous thing. According to crime dramas, the subconscious mind is capable of remembering everything we see, hear and learn in our lifetime. We may not be able to consciously recall the tag number of that car that cut us off in traffic, but our subconscious never forgets.

I rely a great deal on my subconscious to enhance my writing. It never fails when I am at a crossroads with my characters a solution seems to magically be made known to me. Accordingly, I credit my subconscious.

This was really brought home to me when I recently revised a couple of novels published prior to the Sword of Tilk Trilogy.

I reread 9.5B first published in 2010. I created a character named Stormy Rose Prometheus. Excuse me, Dr. Stormy Rose Prometheus who was known by the moniker Prometheus.

I didn’t do any research on the name when I initially wrote the book. I don’t know why. I am usually anal about that sort of thing, but I liked the name.

Before I began revising the book, I took to the Internet to find out exactly who and what Prometheus was. I especially wanted to know because there was a movie released in 2012 of the same name and I needed to know if any part of the movie overlapped the book and vice versa.

What I found surprised me.

Prometheus was a Titan from Greek mythology credited with the creation of man. He gave the gift of fire to mankind then was punished by the Greek gods for doing so. He was tied to a rock and an eagle would eat his liver. The liver then grew back and the eagle returned each day to feast upon the organ again.

I remember studying Greek mythology in high school. It was one of my favorite subjects at the time. I recall being in a cramped little room, sweltering from the heat even with the windows open, desks crowded side by side against one another. I even remember the cover of the book: kind of a peach and teal color, very pretty I thought. But I do not for the life of me consciously recall the name Prometheus.

But we must have studied Prometheus at some point. The name obviously stuck.

I also learned from my research that the original title of Mary Shelley’s Frankenstein was Frankenstein: The Modern Prometheus. The subtitle has been dropped but it refers to Victor Frankenstein himself due to his attempt to create life through scientific means or by means other than natural reproduction.

It is a similar credit given to Prometheus the Titan when he created man from clay: a being into which a spirit could be breathed.

Once I had done all my research, the irony of naming my character Prometheus surprised me.

You see, Dr. Stormy Rose Prometheus is also a scientist. One who clones herself a daughter, thus creating life by means other than natural reproduction.

Talk about the subconscious working overtime.

There are many other smaller examples of my subconscious contributing to my writing efforts, some of which came directly from personal experience. But the Prometheus name really took me by surprise.

I have learned to sort of “listen” to my subconscious when I’m writing. If I am struggling with a scene, a dialogue or a character, I sit very still. I allow my imagination to visualize the idea I am attempting to get on paper.

Before I know it, I am breezing through the scenario with ideas that had not occurred to me but which work very well with what I am writing.

Some call it inspiration. Some call it a muse (my muse’s name is Natalie; at least that’s what she told me). It’s really both.

No matter what you choose to call it, pay attention when it comes calling. More than likely, it’s your subconscious working overtime.

That’s what it’s there for.

Some details simply aren't necessary. You don’t have to provide a detailed summary of injuries sustained to characters, don’t have to be or consult with a doctor for a prognosis. Those details can sometimes be more detrimental to a story than helpful to the reader.

A prime example of this is Jeff Lindsay’s Dexter By Design.

For those not familiar with Lindsay’s Dexter series: Dexter is a serial killer who kills serial killers. He mostly targets those guilty of crimes against children, primarily pedophiles who kill children. He is also a blood splatter analyst for the Miami Police Department. His foster sister, Deborah, also works for the Miami Police Department.

In Dexter By Design, Dexter and Deborah pay a visit to the home of a suspect. Deborah is stabbed in the process and hospitalized.

Not once throughout the ordeal does Lindsay go into detail about Deborah’s injuries. The only thing the reader knows is that “she lost a lot of blood.”

No medical jargon. No technical mumbo-jumbo. No lengthy explanations about where the knife penetrated, what organs (if any) that may have been affected and no platitudes about how lucky Deborah was.

Instead, Lindsay focuses on the real issue: the relationship between Deborah and Dexter.

Deborah recently discovered Dexter’s secret life and she was processing her feelings about the matter.

Dexter was processing how he felt about his sister. Feelings are something Dexter is always processing, whether he believes he has them or not.

There was already enough going on in the novel without it getting bogged down with medical details regarding Deborah’s injury. Going into those details would have been tedious instead of enlightening. Rather than have the reader stumble through the medical vernacular, Lindsay keeps the important stuff in the forefront while using Deborah’s injury as background drama.

Details about her injury simply aren’t necessary. It is enough to know that Deborah has sustained a potentially life-threatening injury and even more important is how Dexter reacts to it and feels about it. Details about the injury itself would have added insult (pun intended).

It is the foremost job of the writer to keep the story moving, keep the reader interested. Had Mr. Lindsay insisted upon including medical and technical details about Deborah’s injury, not one of those details would have been pertinent to the story. It would have just been information the reader had to slog through to get to the next interesting part.

This doesn’t mean you should forego any research that needs to be done. There are details that are imperative you know something about.

For instance, in the novel I am currently working on, I need to learn more about guns. This will require hands-on research: visiting a firing range, talking to people who are gun enthusiasts and probably handling and shooting a gun as well.

One of my characters is a superior markswoman (that’s right, I said woman). She’s going to know her gun, know it well and know how to handle it. This is an important detail in the novel and the research must be done.

I’m not crazy about guns. They scare me. I’ve never held one unless you count the childhood water gun. It is imperative that I overcome this, steel my nerves and do that research.

Weigh the importance of your details to your reader. Must they know that a conduit is not only a means of conveying water it also denotes a means of access? Do they really need to know the minute details of an injury or would it suffice they know it is life-threatening? Do they need to know the exact route to get to the buried treasure or is it more important what the characters endure to get there?

While the details can be interesting if they don’t move the story along or make a poignant point it may be best to write around them. Sometimes the how and the why of a thing isn’t as important as how the people affected deal with it.

It isn’t that details don’t matter. They do. As long as you expend the time and energy on the really important details.