Tuesday, October 21, 2008

Finding Your Starting Point


The importance of the first few lines we write cannot be underestimated. That first string of words has to reach into a reader’s heart, mind, or soul and grab them, pull them into the story, or attract them to our main character, and keep them reading.
How do you know where your story begins?

I’d suggest that, when we start a new manuscript, we don’t always know the starting point. We discover the best possible starting point as we write. In reading through a first draft of a recent manuscript I’d finished, I discovered the starting point midway through the first chapter. All that came before was unnecessary information. I knew the moment I hit the starting point—the lines that pulled me in and propelled me into the story.

Agents, editors and readers aren’t privy to our internal reasoning as to how back story and information that provides a set-up, no matter how well-written, comes into play. They want a line or two, at the very beginning, that makes them want to know more.

Think about it. If I write: Sue was my best friend all through school. We know each others secrets as well as we know our own. She’s the first person I call when I have good news to share. I’m the one she turns to when she needs a listening ear. We’re closer than sisters. The call came at three a.m. My best friend, Sue, is missing.

Do you really want to know about the relationship first? Or do the last two lines of that paragraph set up the story and make you want to know more?


Find your starting point--and write!

Linda

Thursday, October 9, 2008

A Simpler Time (a reflective essay)


It was only a two-hour flight from Memphis to Pittsburgh. The plane was cramped and bumped along on the changing air currents, making the flight seem longer. It was cool when I left Memphis, though the forecast was for sun and fifty degrees—not bad for February. As we flew northeast, I gazed out of the narrow window and, through a break in the clouds, could see snow blanketing fields and capping mountains—reminding me that it was still winter.

I was going home. Well, not exactly home, but to the place I had called home since my mother had died. Home—the home of my childhood—didn’t exist any longer.

My thoughts drifted back to that place—the old clapboard house, built by my great-grandfather, the boards blackened by years of coal smoke and pock-marked by termites. I wondered now why no one had ever thought to paint it. The house had stood out starkly alongside the other homes in the neighborhood—those of brick, or soft, white siding, or cloaked by a coat of glistening paint.

It was home, however. Warmth emanated from a large hearth in the center room that had been converted from a dining room to a living room and back again. The decades-old wallpaper evidenced a bygone era and bore crude crayon drawings from my early years as an aspiring artist. The air was often heavy with a mixture of furniture polish, cigarette smoke, and homemade pie.

The dining room was nearly filled by my great-grandmother’s dark cherry table that opened to comfortably seat twelve and had twelve matching high-back chairs with brocade cushions. It was the finest piece of furniture in the house. My sister and I used to line the chairs in a double row and imagine we were on a passenger train, crossing the plains, or en route to some exotic land. I always got to be the engineer, because I was older and I was bigger. She would line her dolls on the seats, pretending they were the passengers, and would pass down the aisle collecting the tickets we had crafted from construction paper.

I didn’t have dolls. Instead, I strapped my holster to my hip and practiced my quick draw—just in case of an attempted train robbery. We could play like that for hours, until we got on Mom’s nerves. We were then told to, “Go outside and get the stink blown off ya’.” That was her way of saying, “You’re driving me crazy, and it’s a nice day. Go and play outside for a while.”

It was a simpler time—the fifties—when innocence was cherished. We were four and six and would think nothing of bounding out into the yard wearing only cotton briefs, a cowboy hat with matching boots and, of course, my holster. We would invent games, explore hiding places under the porch, and invite ourselves to dinner at a neighbor’s house. We lived in a neighborhood where the kids were everyone’s kids, and every parent had the authority to correct you.

On balmy summer evenings, adults gathered on porch steps or sat in the yard in folding chairs while all the kids raced from yard to yard, playing tag or catching fireflies. Eventually, someone would disappear and return with cold drinks for the adults and popsicles for all the kids. On any given evening, one of the youngest would fall and scrape a knee, only to be scooped up and comforted by the nearest adult, then sent back into the fray.

It was a simpler time.

The era of the fifties was a good time to be a kid. I sometimes look around today and think about what kids have now that we didn’t have. But then I like to think of what we had that, I fear, has been lost—we had disorganized sports where we learned to choose sides, to compete, and to deal with rejection and loss; we had two, sometimes three, generations under one roof; we had elders who would tell us stories about the past and anecdotes about quirky family members, and we eagerly listened; we had imagination that drove our play; we had structure that taught us to know limits. We had childhood, and were allowed to be children. We had adults who, each in his or her own fumbling way, tried to keep us alive long enough to graduate from high school and to then be sent out on our own. We had few expectations, but many rules, and we knew them. We had consequences, and we suffered them. We had rewards, and we earned them. The rules were clear, the consequences reasonable, and the rewards often something as little as a quarter.

It was a simpler time.

We had heroes, too. My personal favorites were the Lone Ranger, Hop-Along Cassidy, Sky King, and Lassie—all who fought for justice, countered evil, and saved the day. We had dreams. By the time I was ten, I had read Black Beauty at least four times. I dreamt that I would grow up and ride around the country on a huge black stallion named Gypsy. We would sleep under the stars and go wherever the trail would lead—this from the person who now considers camping a night at Motel 6!

We had a house with one bathroom and one telephone, and you had to stand in one place to talk on it. We had one car—a well-used '47 Buick. We had an 8mm movie camera that silently captured birthday parties, parades, and Mom trying the hula hoop. A really good time was getting together with the family to watch our silent movies. We had a family doctor who actually made house calls and sometimes prescribed such non-traditional remedies as a shot of whiskey to cure the croup—and who, by the way, charged five dollars for a visit. We lived in a small town where everyone knew everyone. Our friendships blurred all lines of distinction for color, class, or belief—the other kids were just other kids.

We lived life. We savored it. We chewed it slowly, letting the flavors become a part of us—taking it all in—with few distractions. We had time.

Today, life comes at us faster, passes by quickly, and leaves us shaking in its wake, often times feeling unsatisfied and empty—swept along by our busy-ness. How many times do we find ourselves saying things like, “I can’t believe it’s Christmas already!” I don’t remember hearing that much when I was a child. We lived in the moment, eased into the seasons, enjoyed the transitions. I don’t remember three out of four kids in my class being diagnosed with ADHD. We just had the typical one or two “bad” kids who spoke out in class, wouldn’t keep still, and spent a lot of time in the corner. There was no diagnosis for childhood.

We’ve all heard the cliché, “Stop and smell the roses,” but we’re often moving so fast that we have to grab the rose on our way by, snapping it off at the stem and carrying it along until we find the time to take a far too brief sniff. The scent fades, the rose dies, and we are left with only browning petals, the sting of a thorn, and unfulfilled longing.

Now, don’t get me wrong. I rely on my computer and my cell phone. I wonder how I got by, day to day, without either. And, I’ll admit, I’ve enjoyed a video game now and then. But right now, at this moment, sitting on this plane and remembering how life used to be, I’ve come to realize that in moving forward, I may have left behind things that served me well.

I made some rules for myself: I won’t spend every waking hour mindlessly surfing the net. I’ll put at least as much effort into being happy, as I put into being dissatisfied. I’ll appreciate my cell phone for its convenience and the reassurance it offers, but I’ll turn it off at certain times—at restaurants, the theatre, during conversation with friends, while walking in the woods. I’ll give my work one hundred percent, but I’ll give the rest of my life one hundred percent, as well. I’ll put time aside and savor that time to smell roses, to really watch sunrises and sunsets, to listen to the laughter of children, to not be surprised when holidays sneak up on me, to read the credits after a movie.

I have an older, wiser friend who once said, “If life was meant to be lived that fast, I’d have been born with a rocket strapped to my ass.” Crudely put, but insightful just the same.

Have you ever wondered what would happen if we just stopped? What would happen if we went back—the way you do when you hurry past a shiny penny lying in a parking lot, then stop and go back to pick it up, believing in its power to bring good fortune? What would happen if, for one day, we turned off the TV, the computer and the video games with which we pass the time, downshifted a gear or two and stepped outside to share an iced tea with the neighbors, to catch fireflies with the kids, to watch a sunset, and to act as if today, this moment, is the most important?

Sounds simple, doesn’t it?

What does this have to do with writing, you ask? Well, it has a lot to do with my writing. We are, for better or worse, shaped by our early years, the values handed down to us by parents and grandparents, the things we have as well as the things for which we hunger. I know the ways my writing is influenced by all of these factors--the way I've learned to 'do' life.

What has made you the writer you are today?

Linda :)

Monday, September 29, 2008

My Newsletter and Other News

I've started a newsletter to keep my friends and fans abreast of what's happening with my books. If you'd like to join, follow this link: http://groups.yahoo.com/group/lindarettstatt/

I expect the newsletter to be published every other month (unless a lot of great things happen in between:) I may make an occasional special announcement, but you won't be overwhelmed with email from this loop. It is not a chat group, so members cannot post to the group list.

In other news (since I've already published my October newsletter): I had an opportunity to meet with Tracy Farrell, an executive editor with Harlequin. Let me first say, Ms. Farrell is a delight and took the terror out of 'my first time' (for a pitch, that is.) As a guest speaker for the River City Romance Writers, Tracy's discussion was informative and enlightening about the current climate of publishing, especially in romance and related genres.

I'll be attending the New Jersey RWA conference at the end of October, where I'll be pitching a different manuscript. The workshop lineup for this conference looks great, and I'm looking forward to networking with other authors, agents, and editors, and meeting a few friends.

Now, I'm going to go and write something. :)

Linda

Tuesday, September 9, 2008

Writing Out Loud


I am a writer. I tell myself this every day—between my real job (as my friends refer to it) and all of the other demands that gobble up valuable minutes.

Shortly after I began my first novel, I was presented an unlikely gift—I was relieved of my job. My services were no longer needed. Since I no longer had a real job, one of my friends suggested that I could now dedicate myself to writing. And so, I did. I worked feverishly to finish that first novel and to complete two others. I diligently set about soliciting rejection letters from agents and publishers.

Then I was offered a job back in my home state. It sounded like a dream job—if you have to have a real job. I made arrangements to stay with a friend while I looked for suitable housing.

I had developed a rhythm, a routine for my writing—write until three a.m., sleep until ten, proofread while I enjoyed my morning coffee. It worked well for me.

Now I found myself in someone else’s home and having to adapt to someone else’s routine. Apparently, people with real jobs don’t stay up until three a.m., and they are usually showering and clanking around the kitchen at six-thirty. I had been displaced from my routine and from my quiet work space, using only my laptop with a folding TV tray as a desk. Oh, did I fail to mention that my new housemate was studying music?

On one particular day, I had the house to myself. I took the laptop into the living room and began to edit my previous night’s work. As I got into the midst of my story, my housemate came in, settled into the recliner and began to practice sight-singing—her homework for the next day. (Thankfully, she sings on key.) But after realizing I had read and re-read the same paragraph three times, I excused myself and moved to the dining room.

Twenty minutes later, and as I was once again fully involved in my story, my housemate decided it was now time to practice the piano. The piano is in a small room—you guessed it—next to the dining room.

Not wanting to disrupt the household routine, I again excused myself and said that I was going to work upstairs in the spare bedroom. I placed the laptop on the wobbly TV tray and settled myself back into my manuscript. Before long, my housemate appeared on the second floor, stating that it was now time to work through her computer—the one right outside the spare bedroom. She had to go online and use a program that played music aloud so she could identify the notes. This involved singing the notes and, as I observed, talking herself through the exercise, swearing only occasionally.

I later discovered that, if you proofread your work aloud, it’s easy to clear a room. From now on, I’m writing out loud!

Monday, September 1, 2008

A New Review Is In

I just returned from vacation on Mackinac Island (as if that wasn't good enough) to find a wonderful review of The Year I Lost My Mind from Fallen Angel Reviews. You can read the review by clicking on the following logo.

Tuesday, August 19, 2008

Researching In Reverse

I seem to be developing a pattern. In my first book, And the Truth Will Set You Free, I relocated my character, Kate, to Connecticut. Last October, I traveled to New England and through Connecticut to see how closely my research for the story fit with reality.

In one of my recent completed manuscripts, Shooting Into the Sun, I send my characters to Mackinac Island, Michigan. I've never been there, but always wanted to visit. Well, I'm leaving tomorrow and, after a brief stop over in Pittsburgh, PA for a book signing at the Sto-Rox Public Library, I'm heading to Mackinac Island.

As with many things in my life, I'm once again working in reverse. I research a place, write about, then visit to see how close I came to fact. It seems to fit with what my high school driving instructor said: "I actually think you drive better in reverse." Well, there you have it.

In any case, I'll be back (no pun intended) after Labor Day. Until then, go and write something.

Linda

Wednesday, August 6, 2008

The Curse of the Sagging Middle


Okay, so this can have different meanings, depending upon your perspective. As I prepare to skid sideways into another birthday and wonder what the hell happened to my once-girlish figure, I ponder ‘the sagging middle.’



As writers, we are cautioned about the sagging middle--the point in our story where it droops and loses tension. How much like life is that? As I tugged at the waistband of my favorite jeans the other day, I noticed my sagging middle, and wondered how it got there.

Well, I know how I got my sagging middle--too many hours in the recliner under the laptop, a can of soda and a bag of chips at the ready, (and just a little chocolate). Okay, okay. A lot of chocolate. My sagging middle came from putting all the wrong junk into my body and limiting its activity.

And there it is--how we get a sagging middle in our stories. We fill it with junk--unnecessary details, the little wanderings we go into when we stray from the story, characters that don’t serve a real purpose, lines that don't move the story forward. And we lose the tension and the action. That fantastic beginning that grabbed our reader by the throat and held her there suddenly becomes jello that’s sat in the sun too long. We manage to get back on track and tighten up our ending, but it’s an uphill climb.

Here’s a test I’ve discovered to determine if you have a sagging middle. (No, don’t look down at your navel. I’m talking about writing again.) Highlight a section that you might use as an excerpt. Paste it into a new document, then read it. Does it stand alone? Does it represent the story or give a glimpse of one of your characters? Would it make you want to read the entire book?

If you answer ‘no’ to any of those questions, your story needs liposuction and a good workout. (Or maybe I’m talking about my waistline now?)

Breaking your story into random excerpts will tell you if it’s filled with junk, or (cliche alert) fit as a fiddle.



Now, go, and give a chapter a workout.


Linda