Category Archives: writing

September 23, 2024 · 6:00 am

The Second Draft: Logic, Objectives, and Circumstances #writing

We are still working on the second draft of our manuscript. We have searched for our code words and examined our character arcs for agency and consequences.

The Second Draft: Decoding My Mental Shorthand #writing

The Second Draft: agency and consequences #writing

MyWritingLife2021BToday, we’re looking at the arc of the plot.  This is a good opportunity to open a new document and answer a few questions about your story. The list of questions and their answers will inform you of the areas that need more work before you send the manuscript to a beta reader.

First, let’s take a second look at the overarching objective. This is the reason the story exists, and we made a stab at identifying it in the first draft. But now we want to make that problem clear.

  1. Is the quest worthy of a story? What does the hero need, and would they risk everything to acquire it?
  2. Have we shown how badly they want it and, most importantly, why they are so desperate for it?
  3. Why do they feel entitled to it?
  4. How far are they willing to go to acquire it?

Second, we examine the antagonist. Have we shown the opposition as clearly as we have the protagonist? The whole story hinges on whether or not our protagonist faces a real threat. A weak enemy is no threat at all, so

  1. VillainWho is the antagonist?
  2. Do they have a personality that shows them as rounded and multidimensional rather than as a two-dimensional cartoon villain?
  3. Do they change and evolve as a person throughout the story, for good or for evil? A character arc must encompass several stages of personal growth. What those stages are is up to you and depends on the story you are telling.
  4. What do they want?
  5. Why do they feel entitled to it?
  6. How far are they willing to go to get it?

Third, how convincing is the inciting incident? I learned this the hard way—long lead-ins don’t hook the reader. Long lead-ins offer too much opportunity for the inclusion of insidious info dumps.

  1. Whether we show it in the prologue or the opening chapter, the first event, the inciting incident, changes everything and launches the story. The universe that is our story begins expanding at that moment.
  2. The first incident has a domino effect. More events occur, pushing the protagonist out of his comfortable life and into danger. Fear of death, fear of loss, fear of financial disaster, fear of losing a loved one—terror is subjective and deeply personal.
  3. The threat and looming disaster must be made clear to the reader at the outset. Nebulous threats mean nothing in real life, although they cause a lot of subconscious stress.
  4. Those vague threats might be the harbinger of what is to come in a book, but they only work if the danger materializes quickly and the roadblocks to happiness soon become apparent.

Fourth, let’s look at logic and the pinch points. Pinch points (events that threaten the quest) are the cogs that keep the wheels of your story turning. How strong are the pinch points in this story?

  1. Was this failure the logical outcome of the characters’ decisions? Or does this event feel random, like spaghetti tossed at a wall to see what sticks?
  2. Does the first pinch point feel strong enough to hook a reader?

The internet says that pinch points frequently occur between moving objects or parts of a machine.

cogsConsider cogs: they are engineered to interlock with each other, and when they move close enough that one cog interlocks and turns another, they move other parts of the mechanism.

When a machine is powered by mechanical or electrical means, the places where the cogs meet other cogs or other parts of the machinery are the danger zones, the places where people can be injured or even killed.

So, our narrative is our machine, and the events (pinch points) are the cogs that move it along.

Logic is the oil that keeps our gears turning.

Fifth: midpoint: What are the circumstances in which we find each character at the midpoint?

From the midpoint to the final plot point, pacing is critical, and the reader must be able to see how the positive and negative consequences affect the emotions of ALL the characters. We must show their emotional and physical condition and the circumstances in which they now find themselves.

The antagonist will be pleased, perhaps elated.

The protagonist will be worried, perhaps depressed.

  1. Did we fully explore how the events emotionally destroy them?
  2. Did we shed enough light on how their personal weaknesses are responsible for the bad outcome?
  3. Did we show how this failure causes the protagonist to question everything they once believed in?
  4. Did we offer them hope? What did we offer them that gave them the courage to persevere and face the final battle?
  5. Finally, did we explore how this emotional death and rebirth event makes them stronger?

storyArcLIRF10032021Each hiccup on the road to glory must tear the heroes down. Events and failures must break them emotionally and physically so that in the book’s final quarter, they can be rebuilt, stronger, and ready to face the enemy on equal terms.

Why does the antagonist have the upper hand? What happens at the midpoint to change everything for the worse?

Sixth: we look closely at the last act, which is the final quarter of the story.

  1. At the ¾ point, your protagonist and antagonist should have gathered their resources and companions.
  2. Each should believe they are as ready to face each other as they can be under the circumstances.

The final pages of the story are the reader’s reward for sticking with it to that point.

  1. Did we hold the solution just out of reach for the first ¾ of the narrative? Did we lure the reader to stay with us by giving them the promise of a solution?
  2. Did we show clearly that every time our characters nearly resolved their situation, they didn’t, and things got worse?
  3. Did we bring the protagonist and antagonist together for a face-to-face meeting?
  4. Was that meeting an epic conflict that deserved to be included in that story?
  5. Did that meeting bring the story to a solid conclusion?
  6. How well did we choreograph that final meeting?

a storyboard is your friendConfrontations are chaotic. It’s our job to control that chaos and create a narrative with an ending that is as intense as our imaginations and logic can make it.

Once we have examined the plot arc and are satisfied with its outcome, we may think it’s ready for a beta reader.

But it might not be, as we still have a few steps to complete. The beta reader’s comments will inform how we approach our third draft, so we want the manuscript we give them to be as free of easily resolved bloopers and distractions as possible. That way they will be better able to see the strengths of the story as well as the weaknesses.

Next week, we’ll examine the next steps to making a manuscript ready for a trusted beta reader. I’ll also discuss how I find readers who can accept that my story still has flaws and who understand what I am asking them to look for.

Plot-exists-to-reveal-character

4 Comments

Filed under writing

Tagged as , , , ,

September 16, 2024 · 6:00 am

The second draft: agency and consequences #writing

I plot my stories in advance, but once I begin writing, the characters sometimes take over. The plot veers far from what I had intended when I began writing it. Each time that happens, the code words we use to tell the story find their way into my manuscript, marking the places I need to revisit and rewrite to show the action. (See last week’s post, The Second Draft: Decoding My Mental Shorthand #writing | Life in the Realm of Fantasy (conniejjasperson.com).

WritingCraftSeriesAgencyLIRF01302022This happens because my characters have agency and sometimes run amok. Thus, in the second draft, I examine the freedom I give my characters to introduce their own actions and reactions within the story.

Usually, the ending remains the same as proposed, no matter what the characters do. However, the path to that place can diverge, making the middle quite different from what was initially intended.

This is called giving your characters “agency.” Agency is an integral aspect of the creative process. It allows the written characters to become real, the way Pinocchio wanted to be a real boy and not a puppet.

I want their uniqueness to remain central to the story, even when their motives and actions diverge from the original plot outline.

In literary terms, “agency” is the ability of a character to surprise the author and, ultimately, the reader. If you plan every action and response when you are writing them, the experience of writing might feel canned and boring.

Plotting, for me, means setting out an arc of events for a story that I hope to write. I do this in advance, creating it in the form of a list in a new Excel workbook that is the bible for that universe. My outline workbook will contain several spreadsheets. On one page, I create the characters and give them personality traits. On another, I list the order of events that I think will form the arc of the story. Another page will have a glossary of words and names that are unique to that story. There will be maps and calendars to help keep things logical.

tabs of a stylesheet

Some authors use whiteboards and sticky notes, and still others use Scrivener—a program my style of thinking doesn’t mesh with. Google Sheets works well, too, and it’s free. The way you plot your stories is up to you.

When my characters begin doing things that weren’t planned, the outline evolves. That way, I don’t lose control of the plot and go off on a side quest to nowhere. That is when I get to know my characters as people.

Author-thoughtsWhen the writing commences, the characters make choices and say things that surprise me. They can do this because I allow them agency.

Each character will be left with several consequential choices to make in every situation that arises along the timeline. I consider the personality and allow the characters’ reactions to fit who they are.

No matter how they respond, they will be placed in situations where they have no choice but to go forward. After all, I am their creator, the deity of their universe. I have an outline that predestines them to specific fates, and nothing they can do will stop that train.

The consequences my characters face for their choices affect the atmosphere and mood of the story as it emerges. Think about it—if there are no consequences for a character’s bad decisions, everyone goes home unscathed. What sort of story is that? Why bother writing at all?

Let’s look at both the meanings and synonyms for the word consequences.

ConsequencesLIRF09142024

So now, let’s consider agency and the importance of choice. How will the consequences of their decisions affect our characters’ lives? After all, a story isn’t interesting without a few self-inflicted complications.

A story most fantasy authors are familiar with is J.R.R. Tolkien’s The Hobbit. Let’s have a closer look at Bilbo’s choices and his path to becoming the eccentric, eleventy-one-year-old hobbit who vanishes (literally), leaving everything, including the One Ring, to Frodo.

In the morning, after the unexpected (and unwanted) guests leave, he has two choices. He can stay in the safety of Bag End or hare off on a journey into the unknown. He chooses to run after the dwarves, and so begins the story of how a respectable hobbit embarked on a new career as a burglar and became a hero in the process.

Bilbo comes to the huts of the raftelves by J.R.R. Tolkien

Bilbo comes to the huts of the raft elves by J.R.R. Tolkien

The consequences of Bilbo’s decision will shape his entire life afterward. Where he was once a staid country squire, the pillar of respectability who had inherited a comfortable income and existence, he is now expected to steal an important treasure from a dragon.

At the outset, that particular job doesn’t seem real, and he can’t imagine doing it. More immediate problems beset him. First of all, he has no clue about how a successful burglar works. He knows better than anyone that he is completely unfit for the task.

Second, he’s always been well-fed, highly respected, and not inclined to physical labor. Now, he is a novice on the expedition, so his opinions carry no weight. Not only that, meals are scant by his standards, and they must do way too much walking.

Bilbo’s long-suppressed desire for adventure emerges early when the company encounters a group of trolls. He is supposed to be a thief, so he is sent to investigate a strange fire in a forest. Reluctantly, he agrees. Upon reaching the blaze, he observes that it is a cookfire for a group of trolls.

Bilbo must make a choice. The smart thing would be to turn around at that point and warn the dwarves that they are in mortal danger. However, Bilbo’s bruised ego takes over, and he chooses to do something to prove his worth.

“He was very much alarmed as well as disgusted; he wished himself a hundred miles away—yet somehow he could not go straight back to Thorin and Company empty-handed.” [1]

Bilbo’s desire to impress the Dwarves causes him to make regrettable decisions. His choice leads to everyone nearly getting eaten, which is a negative consequence.

the hobbitFortunately, they are rescued by Gandalf. While he is hiding, Bilbo discovers several historically important weapons. One of them is Sting, a blade that fits Bilbo perfectly as a sword. This is a positive consequence, as the blade is crucial to Bilbo’s story and later to Frodo’s story.

It does not acquire its name until later in the adventure, after Bilbo, lost in the forest of Mirkwood, uses it to kill a giant spider and rescue the Dwarves. This is when Bilbo’s decisions become more thoughtful, and his courageous side begins to emerge.

Choices and consequences, both negative and positive, shape Bilbo’s character.

Sometimes, the decisions our characters make as we write surprise us. But if those choices make the story too easy, they should be discarded.

The best, most exciting moments I’ve had as an author are when my characters surprise me and take over the story. I can’t describe the feeling of exultation I experience when my characters choose to take the story in a different, much better direction than I had planned.

Ultimately, they end at the place I intended for them at the outset, but they always do it their own way and with their own style.

ConsequencesLIRF07122020

Credits and Attributions:

[1] Quote from The Hobbit, or There and Back Again, by J.R.R. Tolkien, published 1937 by George Allen & Unwin, Ltd.

5 Comments

Filed under writing

Tagged as , , ,

September 9, 2024 · 6:00 am

The Second Draft: Decoding My Mental Shorthand #writing

Before we set the first words on a blank page, our minds have formed images of scenes we want to describe. Steven Pinker is a professor of psychology at Harvard University who specializes in visual cognition and developmental linguistics. He reminds us that we are not born with language, so we are NOT engineered to think in words alone. We also think in images.

depthPart1revisionsLIRF05252021It follows that certain words become a kind of mental shorthand, small packets of letters that contain a world of images and meaning for us. Code words are the author’s multi-tool—a compact tool that combines several individual functions in a single unit. One word, one packet of letters will serve many purposes and convey a myriad of mental images.

These words are sometimes used too often in the first draft as they are efficient. We write as fast as we can when we have the inspiration. Code words convey a wide range of information concisely, and because we use them, we can write the first draft of a story from beginning to end before we lose the fire for it.

In my current writing, I hope to portray my protagonists as I see them without bashing my readers with how I see their appearance. The big temptation is to go into detail about each person’s specific characteristics.

This is not necessary. We think in images, and so do our readers, who will fill in the details in a way that is pleasing to them. I want to convey their characteristics naturally and without beating the reader over the head.

A few years ago, I read a novel featuring a caterer who solves mysteries. She is continuously described as Junoesque, ample, vast, chubby, size eighteen, fat, large … and on and on. In every chapter, at least once and usually twice, we were given a visual description of her, along with indications of how she aroused the males around her.

Those constant descriptions were meant to emphasize the author’s perception of her protagonist as plump but irresistible to the males. However, as the book wore on, it became jarring and unnecessary. I skipped to the end and then set it aside, never to be read again.

powerwordsWordCloudLIRF06192021I want to avoid that sin in my work, but what are my code words? What words are being inadvertently overused as descriptors? A good way to discover this is to make a word cloud. The words that see the most screen time will be the largest. Free online word cloud generator and tag cloud creator – WordClouds.com.

A word frequency search is also a good tool. Word Frequency Counter – Counts frequency of words in text, free online tool (charactercounter.com)

In my current work, a prominent side character is an important mentor. He is tall with dark skin and dark eyes. His hair is a wiry halo shot with white and trimmed close to his head. This is a mixed-race society, a world where “race” means “species.” One is a human born in the world of Neveyah, a large minotaur from the Bull God’s world, or a small person with rat-like features from the Mountain God’s world. Those are the only racial differences people notice.

So, when showing my people, I use general descriptors, and thanks to my use of word frequency search, the code words are now used only a few times. My hope is that a reader will make appropriate visualizations as needed.

Every author thinks a little differently, so your code words will be different from mine. Another way to find your secret code words is to have the Read Aloud tool read each section. I find many inadvertent crutch words that way.

One of the code words I subconsciously overuse is “felt.” My thesaurus says I could exchange felt for:

  • ozford-american-writers-thesaurusendured
  • experienced
  • knew
  • saw
  • suffered
  • tasted
  • underwent,
  • witnessed

The thesaurus offers some other words related to felt:

  • regarded
  • viewed
  • accepted
  • depended
  • trusted
  • assumed
  • presumed
  • presupposed
  • surmised

It’s natural to overuse certain words without realizing it, but that is where revisions come in.

As you go along, you’ll discover that some words have very few synonyms that work.

Consider the word “smile.” It’s a common code word, a five-letter packet of visualization. Synonyms for “smile” are few and don’t show what I mean:

  • beam
  • grin
  • leer
  • smirk

Each occurrence of the word “smile” in my work must be considered individually. Sometimes, this requires a complete re-visualization of the scene. It hurts my heart to murder my darlings, but I look for a different way to convey my intention.

We don’t have to drag the reader through a long list of ever-moving facial expressions, such as lips turning up, down, drawing to one side, etc.

When done sparingly and combined with a conversation, this kind of visual display can work.

By sparingly, I mean no more than one facial change per interaction, please.

oxford_synonym_antonymSometimes, the only thing that works is the brief image of a smile. Nothing is more boring than reading a story where a person’s facial expressions take center stage. As a reader, I want to know what is happening inside our characters and can be put off by an exaggerated outward display.

Once you become aware of your first draft code words, go to the thesaurus, find all the synonyms you can, and list them in a document for easy access. If it is a word such as smile or shrug, you have your work cut out, but it will speed things up if you make a small list of visuals that you can use and change up as needed.

A list of mood indicators can keep you from losing your momentum and will readily give you the words you need to convey all the vivid imagery you see in your mind. I saved my list to my desktop, so I don’t have to waste time searching for it.

Here are some instances of body language an observer would see if a character was wary.

  • Crossed arms.
  • A stiff posture.
  • Narrowed eyes.

emotion-thesaurus-et-alIf you don’t have it already, a book you might want to invest in is The Emotion Thesaurus by Angela Ackerman and Becca Puglisi. Some of the visuals they list aren’t my cup of tea, but they understand how to use words that show what people are thinking.

This aspect of the revision process is sometimes the most difficult. It takes time to examine each instance of our code words. They don’t always need changing—sometimes, a smile is a smile, and that is okay.

6 Comments

Filed under writing

Tagged as , , ,

September 2, 2024 · 6:00 am

Today is Labor Day in the US #writerlife

The first Monday in September is Labor Day in the US, a holiday marking the end of summer. This is the day we honor those whose labor keeps this country running. Over the years, I have worked in a wide variety of menial jobs. All were low-paying and didn’t garner much respect from those in higher-status positions or from management. But I liked my work and never did less than my best.

MyWritingLife2021BChildcare was always an issue. Sometimes, during the Carter years, I qualified for government-subsidized childcare vouchers, which was the only reason I could work such low-paying entry-level jobs. Later, my uncle cared for my youngest daughter after school until she was about ten.  Because I had that childcare subsidy when my youngest was not yet of school age, I was able to support my family relatively well.

They should bring that childcare subsidy back. Once they reached ten years of age, my kids were latchkey kids, which wasn’t uncommon in those days.

In the 1970s-80s, I worked as a bookkeeper, an automobile detailer, a field hand for a (now defunct) multi-national Christmas tree company, a photo lab tech, a waitress in a bakery, and worked in a delicatessen.

During those years, my favorite job was as a field hand for the J. Hofert Company. They grew Christmas trees of all varieties, and I absolutely loved the work. It was outdoors, paid $3.25 an hour, and was seasonal, so I usually had a month off three times a year.  I was able to work all the overtime hours I wanted during certain seasons, as field hands were as hard to get then as they are now.

coins

Coins, Microsoft content creators

Sometimes, especially during the Reagan years and up to 1996, wages were low, and jobs were scarce.  I held two, and sometimes three, part-time jobs to keep the roof over my children’s heads and food on their table. Trickledown economics never quite trickled down to my town.

In the late 1980s and through the 1990s, I worked as a hotel maid, a photographer’s assistant and darkroom technician, and as a bookkeeper/office manager for a charter bus company.

Life became easier in the 1990s. As a bookkeeper/office manager, I earned $7.50 an hour (two dollars over minimum at the time) and worked less than 30 hours a week with no benefits whatsoever. I drove for an hour each way, morning and afternoon, for that job.

As a hotel housekeeper in a union shop, on the days I wasn’t a bookkeeper, I made $8.50 (three dollars over minimum) and worked about 20 hours a week, giving me enough from the two jobs to live on and provide well for my children. I was still legally married to my 3rd husband, but he was seldom in the picture. The marriage was a shield between me and my well-meaning matchmaker friends.

fireworks via wikipedaI was divorced from hubby number three in 1997, and oddly enough, things became much easier financially. I was able to get by with only one job, even while raising my last teenager. (See? Everyone has a soap opera life, even famously unknown authors.)

For all the years I was married to my 3rd husband, no matter what other job I had, I kept my weekend job at the hotel. I kept it because I always had that to fall back on. I had risen in seniority and could work full-time whenever the other jobs went away.

My hotel was affiliated with a good union. We who did the dirty work earned far more than maids, housemen, and laundresses at other hotels. We also had benefits such as paid sick leave, up to two weeks a year of paid vacations, good health insurance, and a 401k, to which our employer matched our contributions.

In any hotel, housekeepers are considered the lowest of the low by the other employees. No one is of less social value than the person who cleans up after other people. Without the union, we would have had nothing more than the bare minimum wage and a cartload of insincere condescension from management.

Not every union is good or reasonable. But while I don’t agree with everything every union does and stands for, I am grateful that a good, reasonable organization protected my family and me during those years of struggle.

After 2000, I worked as a temp employee at Verisign, a tax preparer for H&R Block, and did data entry for LPB Energy Management. By 2010, I was thoroughly sick of corporate America and had returned to bookkeeping, this time for a local landscape company.

That job was a joy.

In my younger days, I worked every weekend and every holiday, and yes, it was not easy, but it was what it was. My kids were good and supportive, and they knew I was doing my best for them.

Every worker deserves an employer who treats them with respect and offers a fair wage in return for their labor.

The world is a different place now in many ways. Even so, someone must do the dirty jobs, the work that no one else wants. I have nothing but respect for those who work long, hard hours in all areas of the service industry, struggling to support their families.

My experiences working in the lower echelons of the labor force inform my writing. Look around you and see the people who make your life easier by being there every day doing their jobs.

330px-Works_Progress_Administration_maid_poster_cropped

Stylized drawing of a maid on a Works Progress Administration poster via Wikipedia

Every waitress/waiter, housekeeper, laundry worker, caregiver, bartender, welder, mechanic—everyone in the service industry is a living, caring human being with hopes, ambitions, triumphs, and tragedies. Every one of them has a story and a reason to be where they are, doing the task they have been given.

Say a little thank you to all those who endure verbal abuse when a customer is stressed out and “doesn’t have time to wait” or is upset by things they have no control over and vent their anxiety at someone who can’t (or won’t) fight back.

Give a little thanks to those whose labor enables you to live a little easier.

4 Comments

Filed under writing

Tagged as , , , ,

August 30, 2024 · 6:00 am

#FineArtFriday: Newhaven Harbour on the Firth of Forth by Samuel Bough

Samuel_Bough_-_Newhaven_harbour_on_the_Firth_of_ForthArtist: Samuel Bough  (1822–1878)

Title: Newhaven Harbour on the Firth of Forth

Date: Unknown date

Medium: pencil and watercolor, heightened with white

Dimensions: height: 25.4 cm (10 in); width: 35.6 cm (14 in)

Inscriptions: Signature bottom left: Sam Bough

What I love about this painting:

This is a faithful record of a sunny summer day at a busy harbor on Scotland’s Firth of Forth, painted before the port of Newhaven was industrialized. When this painting is viewed from a distance, there is a crispness to the scene, to the women and men purchasing fresh-caught fish, conveyed by the choice of colors, the use of pencils with the watercolors, and the impressionist’s technique.

I like this scene. It’s an active scene, bustling and full of mid-nineteenth-century life.

About the Artist, via Lyon and Turnbull:

Considered to be one of the most influential and prolific Scottish landscape painters of the 19th century, Sam Bough RSA was a self-taught artist who spent much of his career working in Scotland. Born in 1822 in Carlisle, Bough settled in Manchester where he worked as a scene painter in the Theatre Royal.

After moving to Glasgow he continued to paint in the evenings whilst working at the New Princes Theatre, eventually building enough success to move to painting full-time. Bough’s reputation as a topographical and landscape painter grew during the 1850s, and by the time he resettled in Edinburgh he had established himself as a successful landscape artist. Whilst living in the capital he created some of his most important paintings.

Bough was as successful a painter in both oils and watercolours, and was committed to depicting a wide variety of landscape views and effects, urban and rural, bright days and dark storms. However, there are specific locations and landscapes that Bough returns to regularly in his work; the hustle and bustle of harbours and coastal towns, with the distinctive Newhaven harbour a particular favourite, and the hunting forest of Cadzow, near Hamilton. Generally associated with views of Scotland, he did also create a series of Italian views. In general, his spontaneity, loose technique and interest in capturing fleeting atmospheric effects, particularly cloud formations and weather, establishes him as an important predecessor of the Scottish Impressionists, paving the way for the development towards a freer, plein air style. [1]

Credits and Attributions:

[1] Bio Quote: Sam Bough | Scottish 1822 – 1878 (lyonandturnbull.com) accessed August 28, 2024.

Comments Off on #FineArtFriday: Newhaven Harbour on the Firth of Forth by Samuel Bough

Filed under #FineArtFriday, writing

Tagged as , ,

August 26, 2024 · 6:00 am

Revisiting the double circular story arc #writing

The story arc can take several forms. It can be linear, a straight shot from the inciting incident to the conclusion. This kind of story takes our protagonist through a series of events that all lead to one ending, a point well away from where it began. The protagonist has left his roots behind and is transformed into a hero.

WritingCraft_short-storyAnother arc takes the protagonist on a journey that can end several different ways, all of them taking our characters down a winding path with many choices, roads not taken. They also are altered by their experiences for good or ill.

Yet another arc takes the protagonist back to their beginnings, transformed and ready to face their future.

My favorite arc to play with is the double circular arc, also known as the infinity arc. The majority of this post appeared here in November 2023, so if you have read it already, thank you for stopping by. The infinity arc is on my mind as it’s a method I am employing in a current short work-in-progress.

When I plan a story, I divide the outline into 3 acts. In a 2,000-word story, act 1 has 500 words, act 2 has 1,000, and act 3 has 500 more words to wind up the events. No matter the length of any story, if you know the intended word count, you can divide the plot outline that way.

The Infinty Story ArcKnowing my intended word count helps me create a story, from drabbles to novels. For me, it works in stories with a traditional arc as well as those with a circular arc.

In any story, the words we use to show the setting, combined with a strong theme, will convey atmosphere and mood, so fewer words are needed.

The story I’m using for today’s example is the Iron Dragon, a 1,025-word story I wrote during NaNoWriMo 2015. That was the year I focused on experimental writing, putting out at least one short story every day and sometimes two.

This is a story of the web of time glitching and the perceptions of the characters who experienced it.

Some speculative fiction stories work well as a double circular arc—something like an infinity sign, a figure-eight lying on its side: ∞

dragonIn a circular narrative, the story begins at point A, takes the protagonist through life-changing events, and brings them home, ending where it started. The starting and ending points are the same, and the characters return home, but they are fundamentally changed by the story’s events.

The infinity arc presents one story from two different viewpoints. The story begins with character 1, takes them through the events, and brings them back. At that point, the story takes up character 2 and retells the events through their point of view, bringing them back to where they began. (Two circular story arcs joined by one event.)

Both characters begin at the same place, experience the event(s) concurrently but separately, and arrive back at the same place. The worldview of both is challenged by what they have lived through.

The two characters may not meet. In the Iron Dragon, my characters physically don’t meet in person. However, they briefly occupy the same patch of ground during a glitch in the space-time continuum.

This story ends where it began but with the two sets of characters having seemingly experienced two different events. Their perception of the meeting is colored by the knowledge and superstitions of their respective eras.

The Infinty Story Arc

The first paragraph of the Iron Dragon begins in the middle of a story—the center of the infinity sign. Those opening sentences establish the world, set the scene, and introduce the first protagonist. The following three paragraphs show the situation and establish the mood. They also introduce the antagonist—what appears to be an immense dragon made of iron.

At this point, our first protagonist knows that he must resolve the problem and protect his people, which he does. There is more to his side of the story, of course. But this is a story with two sides. Aeddan’s point of view is not the entire story.

Again, I had to set the scene and establish the mood and characters. Here, we meet the second protagonist, an engine driver named Owen. He has the same needs as Aeddan and also resolves the problem. Neither character would have understood the strange physics of what just occurred had Michio Kaku been around to explain it to them. Both do what they must to protect their people.

The final paragraphs wind it up. They also contribute to the overall atmosphere and setting of the second part of the story. As a practice piece, this story has good bones. I didn’t feel it was the right kind of story for submission to a magazine or contest, as it’s not a commercially viable piece. So, I posted it here on this blog on November 4th, 2016. #flashfictionfriday: The Iron Dragon

Flag_of_Wales.svgWord choices are essential in showing a world and creating a believable atmosphere when limited to only a small word count. I had challenged myself to write a story that told both sides of a frightening encounter in 1000 words, give or take a few. I wanted to expand on the theme of dragons and use it to show two aspects of a place whose national symbol is the Red Dragon (Welsh: Y Ddraig Goch).

But I also wanted to use the double circular story arc, seeing it as a way to tell one story as lived by two protagonists separated by twelve centuries and a multitude of legends. That meant I had 1000 words to tell two stories.

Short fiction allows us to experiment with both style and genre. It challenges us to build a world in only a few words and still tell a story with a beginning, a middle, and an end.

The act of writing something different, a little outside my comfort zone, forces me to be more imaginative in how I tell my stories. It makes me a better reader as well as a better writer.

Credits and Attributions:

Wikimedia Commons contributors, “File:Flag of Wales.svg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Flag_of_Wales.svg&oldid=808619174 (accessed November 19, 2023).

3 Comments

Filed under writing

Tagged as , , , ,

August 19, 2024 · 6:00 am

Layers of the Scene: conversation #writing

WritingCraftSeries_depth-through-conversationMost of my novels and short stories begin life as exchanges of dialogue between two characters. Their conversations shed light on what each character’s role in the story might be.

We all know that dialogue must do at least one (if not all) of these four things:

  1. It must share information the characters are only now learning.
  2. It should show the characters’ mood and state of mind.
  3. It must shed light on the relationship of the characters to each other.
  4. We include props that show the world and the characters’ places in their society.

So, once I have an idea for a story, I think about the characters and ask what they need to know, either about their quest or themselves. It’s a two-stage process—the scenery and background get filled in after the dialogue has been written.

I picture the scene. Then, I write just the dialogue for several back-and-forth exchanges, getting the basic words down.

“What are you doing?”

“Oh, just drawing.”

“Drawing what?”

“You’ll laugh or find a reason to mock me for it.”

Once I know what they are talking about and have the rudimentary dialogue straight, I add basic scenery and speech tags. The dialogue grows with each layer because the scene becomes sharper in my mind.

The next morning, when his stepmother came down for coffee, John was once again working on something in his notebook.

“What are you doing?” Ann’s clipped tones cut the silence.

“Oh, just drawing.” He stood, gathering his pens. The peace he’d sought had gone earlier than he hoped.

“Drawing what?”

John’s normally open features were closed, inscrutable. “You’ll laugh or find a reason to mock me for it.” Closing his sketchbook, he attempted to leave but stopped when she put her hand on his shoulder.

“Show me. Now.” When Ann repeated her demand, he reluctantly opened the book. Page after page was covered in stylized dragons, leafy vines, and runes. “Why do you waste your time with this crap? You could be brilliant, but no! People want real art, not this drivel.”

“This is how I earn my living.”

Ann poured herself a cup of coffee, pausing only to sneer. “You don’t have a pot to—”

“It pays my mortgage. What more do you want?” John reclaimed the sketchbook. “Coming back here was a mistake. I did it because David asked me to, because Dad is ill, and because it’s Christmas.”

“Don’t talk to me about David. You encouraged my son to abandon a brilliant career in the law firm that has been in the family for four generations.”

“Stop. I encouraged my stepbrother to have faith in himself. Yes, I urged him to try out for the position of symphony concertmaster, and he got the job. He’s incredibly talented and loves what he does.” John crossed toward the dining room, aware that arguing with her would change nothing. “Enjoy your breakfast.” The kitchen door closed behind him, cutting off his stepmother’s rant.

The layers that form this scene are:

  1. good_conversations_LIRFmemeAction: She comes down for coffee. He holds a notebook, gathers pens, and stands.
  2. Dialogue: shows long-simmering resentment between the two players and gives us a time reference—it’s Christmas.
  3. Environment: a kitchen, closed off from the rest of the house.
  4. The story: Ann is under severe stress in her work and at home. In this story, her closed-off kitchen is symbolic of her closed-off personality. The place that is the heart of a home is walled away. She doesn’t want to examine why she is enraged by David and John’s freedom to make their own choices.

We work with layers to create each scene. With these layers, we show the reader everything they need to know about that moment in time.

Over the course of a narrative, conversations will take place in different settings. Readers will gradually see the world through the characters’ eyes. They will visualize the world without our having to dump a floor plan or itinerary on the reader. Remember our basic conversation?

“What are you doing?”

“Oh, just drawing.”

“Drawing what?”

“You’ll laugh or find a reason to mock me for it.”

Let’s keep the names and put that dialogue and the notebook into a fantasy setting. We’ll change how the characters are related to each other and see what comes up:

Logically, Ann knew John wasn’t responsible for David’s death. Two years on, and it still colored her life. But he’d come back alive when her brother hadn’t, and a secret part of her blamed him for that. Still, her curiosity grew stronger every time she saw him with his pencils beside the campfire, drawing something in his notebook.

Ann knelt and turned the flatbread so it would cook evenly. She couldn’t ask him about the stupid notebook. Why had she volunteered to cook? It was bad enough that she was traveling alone with him. The last thing she wanted was for him to think she was open to resuming their old accord.

But curiosity, her greatest curse, got the better of her. To her horror, she heard herself ask, “What are you doing?”

“Oh, just drawing.”

“Drawing what?”

“You’ll laugh or find a reason to mock me for it.” Closing his sketchbook, John attempted to rise but stopped when she put her hand on his shoulder.

“I promise I won’t. Please? I’m just curious.”

John’s guarded expression said he doubted her. Of course, he did. She’d been cold to him since David was killed. But he opened his notebook.

Page after page was covered with portraits of all the members of their clan, including her. Each looked as full of life as if they could step off the page. Tears sprang to her eyes on seeing the many portraits of her brother, handsome and laughing. “All these drawings of David … it’s the way I want to remember him.” She met his gaze. “Thank you.”

John looked away. “I dream all night long of that day and all the things I could have done to change what happened. And then I have to draw. I don’t know why.”

Ann’s eyes burned again. She owed him an apology. But how? “Maybe you draw portraits to keep the people you love alive.” She sighed, saying what she knew was the truth. “It was an avalanche. You couldn’t have changed anything.”

We used the same words as in the previous scene for the core of the conversation and included a sketchbook. We used the same names. John is still an artist, and Ann is still under stress, in this case, grief. However, with different relationships, we have different histories. We end up with different character arcs and a different outcome.

The layers that form this scene are:

Family Camping Clipart

Action: Ann is cooking—the campfire is her kitchen. John opens a notebook.

Dialogue: shows a wary interaction between two people who know each other well but are estranged and who may be entering a different stage in their relationship.

Environment: a campsite, an open fire. It is set in the wide outdoors, yet in the darkness, it is intimate.

The core of the dialogue is the same, but the direction the conversation takes is changed because the story and the characters are different.

By beginning with the conversation and envisioning it as if it were a scene in a movie, I can flesh it out and show everything the reader needs to know. Readers are smart and don’t want to be told what to think. Their minds will supply the details of a kitchen or a campsite, depending on the props I include when I add the set dressing.

The layers of action, dialogue, and environment form the framework that supports the story. Where will the layers you add to your conversations take your stories? The possibilities are endless.

4 Comments

Filed under writing

Tagged as , , ,

August 12, 2024 · 6:00 am

Voice and Style vs. the Grammar Police #writing

Many of my blog posts revolve around grammar and the mechanics of writing. As authors, it’s important to understand the rules of the language in which we write. Yet, powerful writing often breaks those rules, and we are better for having read it.

MyWritingLife2021So why am I always pressing you to use proper punctuation? Authors must know the rules to break them with style. Readers expect words to flow in a certain way. If you break a grammatical rule, be consistent about it.

We who are serious about the craft of writing attend critique groups, and we submit our best work. At first, we feel bombarded with reprimands, spotlights highlighting the flaws in our beloved narrative.

  • Show it, don’t tell it.
  • Simplify, simplify.
  • Don’t write so many long sentences.
  • Don’t be vague—get to the point.
  • Don’t use “ten-dollar words.”
  • Cut the modifiers—they muck up your narrative.

These comments are painful but necessary. Putting this knowledge to work enables us to produce work our readers will find enjoyable.

However, all rules can be taken to an extreme. I’ve said this before, but it bears repeating. The most important rules are:

  • Trust yourself,
  • Trust your reader.
  • Be consistent.
  • Write what you want to read.

Queen of the Night alexander cheeErnest Hemingway, James Joyce, Alexander Chee, and George Saunders all have unique voices in their writing. Each of these writers has written highly acclaimed work. Their prose is magnificent. When you have fallen in love with an author’s work, you will recognize their voice.

Ernest Hemingway used commas freely, passing them around in his narratives like party favors. Alexander Chee employs sentences that run on forever and doesn’t use quotation marks when writing dialogue.

James Joyce wrote hallucinogenic prose and, at times, dispensed with punctuation altogether.

George Saunders writes as if he is speaking to you and is, at times, choppy in his delivery.

But their voices work because they know the kind of reader they are writing for. Each of the above authors breaks those rules consistently, and their work stands the test of time. Readers fall into the rhythm of their prose.

I HAVE A CONFESSION. I had to take a college class to understand James Joyce’s work.

Also, I grew frustrated and resorted to listening to the audiobook of Alexander Chee’s The Queen of the Night. Not setting dialogue apart with quotes? AAAAAAUGH!!! I’m an editor, and it’s my job to notice those things. It’s difficult for me to set that part of my awareness aside, but the audiobook resolved that issue.

I can hear the grumbles now. I just mentioned literary authors, and you are writing a cozy mystery, a fantasy, a romance, women’s fiction, or sci-fi. Shall I toss out a few more names?

Happy Hour In Hell, Bobby Dollar 2 - Tad WilliamsTad Williams mixes his styles. His Bobby Dollar series is Paranormal Film Noir: dark, choppy, and reminiscent of Sam Spade. In this series, he seems to be somewhat influenced by the style of crime authors, such as Raymond Chandler or Dashiell Hammett. Each installment is a quick read for me and is commercial in that casual readers would enjoy Bobby’s predicaments as much as I did.

Yet Tad’s Memory, Sorrow, and Thorn Trilogy was a groundbreaking series that inspired countless fantasy authors. Those first three books and the subsequent novels set in that world are solidly epic fantasy. They are written for serious fantasy readers, people who want big stories set in big worlds.

These readers like BIG books. In that series, Tad Williams employs lush prose, multiple storylines, and dark themes. Beginning slow and working up to an epic ending is highly frowned upon in local writing groups, but Tad broke that rule, and believe me, it works. His powerful writing has generated millions of fans who are thrilled that he’s written more work in that amazing world.

Roger Zelazny wrote one of the most famous fantasy series of all time, the Chronicles of Amber, and was famous for his crisp, minimalistic dialogue. The style of his contemporary wisecracking, hardboiled crime authors also influenced him.

LincolnInTheBardo_SaundersCraft your work to make it say what you intend in the way you want it said, but be prepared to defend your choices if you deviate too widely from the expected.

Sometimes, I feel married to a particular passage, and it breaks my heart when someone points out that my beautifully crafted passage adds nothing to the narrative.

The fact is, some words and phrases are distracting. It is easy to fluff things up with descriptors and modifiers, which only increase the wordiness. Those mucky morsels are known as “weed words,” and I make an effort to cut them before my editor sees them, as she will gladly point out each one in a sea of red.

There will be times when you choose to use a comma in a place where an editor might suggest removing it. If asked, you should explain that you have done this to make something clear. Conversely, you might omit a comma for the same reason.

An editor might ask you to change something you did intentionally. Remember, you are the author, and it’s your manuscript. If you know the rule you are breaking, you will be able to explain why you are doing so.

Most editors will gladly ensure that you break that rule consistently—mine surely does.

Voice is how you break the rules. When you understand what you are doing and do it deliberately, your work will convey the story to the reader in the way you want.

The great blessing for those of us who pull novels out of our souls is this: the majority of readers are not editors or professional writers. Readers will either love or hate your work based on your voice, but they won’t know why.

powerwordsWordCloudLIRF06192021

4 Comments

Filed under writing

Tagged as , , , , , ,

August 5, 2024 · 6:00 am

Action and Reaction #writing

Arcs of action drive plots. Every reader knows this, and every writer tries to incorporate that knowledge into their work. Unfortunately, when I’m tired, random, disconnected events that have no value will seem like good ideas. Action inserted for shock value can derail what might have been a good plot.

action_and_reactionMy writing projects begin with an idea, a flash of “What if….” Sometimes, that “what if” is inspired by an idea for a character or perhaps a setting. Maybe it was the idea for the plot that had my wheels turning.

Nowadays, I avoid forcing my brain to work when it’s on its last legs. I no longer commit myself to a manuscript rife with random events inserted out of desperation. I brainstorm my ideas in a separate document and choose the ones that work best. So, in that regard, my writing style in the first stages is more like creating an extensive and detailed outline. This method allows me to be as creative as I want while I build an overall logic into the evolving story.

At the story’s outset, we meet our protagonist and see them in their familiar surroundings. The inciting incident occurs once we have met them, whether they are ready for it or not. At that point, we must take them to the next stumbling block. But what is that impediment, and how do we overcome it?

Answering that question isn’t always easy. The place where writing becomes work is a hurdle the majority of people who “always wanted to be an author” can’t leap. Their talents lie elsewhere.

IBM_Selectric (1)I’m writing a fantasy, and I know what must happen next in the novel because the core of this particular story is romance with a side order of mystery. I see how this tale ends, so I am brainstorming the characters’ motivations that lead to the desired ending.

Sometimes, it helps to write the last chapter first – in other words, start with the ending. That is how my first NaNoWriMo novel in 2010 began. I was able to pound out 68,000 words in 30 days because I had great characters, and I was desperate to uncover how they got to that place in their lives.

So, where are we in the story arc when the first lull in creativity occurs? Many times, it is in the first ten pages.

An imbalance of power drives plots. The dark corners of the story are illuminated by the characters who have critical knowledge.  This is called asymmetric information, and the enemy should have more of that commodity than our protagonist.

The enemy puts their plan in motion, and we have action. The protagonists are moved to react. The characters must work with a limited understanding of the situation because asymmetric information creates tension. A lack of knowledge creates a crisis.

plottingLIRF07122020Plots are comprised of action and reaction. I must place events in their path so the plot keeps moving forward. These events will be turning points, places where the characters must re-examine their motives and goals.

At several points in this process, I will stop and think about the characters. What do they want? How motivated are they to get it? If they aren’t motivated, why are they there?

Answering a few questions about your characters can kick the plot back into motion. Start with the antagonist because his actions force our characters to react:

  1. Why does the enemy have the upper hand?
    • How does the protagonist react to pressure from the antagonist?
    • How does the struggle affect the relationships between the protagonist and their cohorts/romantic interests?
    • What complications arise from a lack of information?
    • How will the characters acquire that necessary information?

e.m. forster plot memeOur characters are unreliable witnesses. The way they tell us the story will gloss over their failings. The story happens when they are forced to rise above their weaknesses and face what they fear.

I lay down the skeleton of the tale, fleshing out what I can as I go. However, there are significant gaps in this early draft of the narrative.

So, once the first draft is finished, I flesh out the story with visuals and action. Those are things I can’t focus on in the first draft, but I do insert notes to myself, such as:

  • Fend off the attack here.
  • Shouldn’t they plan some sort of assault here? Or are they just going to defend forever? Make them do something!
  • Contrast tranquil scenery with turbulent emotions here.

My first drafts are always rough, more like a series of events and conversations than a novel. I will stitch it all together in the second draft and fill in the plot holes.

At least, that is my intention, but it usually takes five or six drafts to make a coherent story with a complete plot arc and interesting characters with logical actions and reactions.

Margaret Atwood on writing LIRF07252022

Comments Off on Action and Reaction #writing

Filed under writing

Tagged as , , ,

July 29, 2024 · 6:00 am

The business side of the business: budgeting for in-person sales events #writing

Regardless of your publishing path, indie or traditional, you must budget for certain things. You can’t expect your royalties to pay for them early in your career. And just so you know, many award-winning authors must still work their day jobs to pay their bills long after becoming bestsellers.

Its a BusinessNowadays, I am rarely able to do in-person events due to family constraints, but I used to do four events a year. However, I have some tips to help ease the path for you.

At first, getting your books in front of readers is a challenge. The in-person sales event is one way to get eyes on your books. This could be at a venue as small as a local bookstore allowing you to set up a table on their premises.

Or it could be as large as a table at a regional conference or convention. Regardless, if you are traditionally published, your publisher won’t provide you with free copies of your book to sell at the signing event. You will pay for them at a reduced cost. If not up front, then you will pay out of any future royalties. You will also have to be your own publicist and getting the word out about your event will be your responsibility. On the good side, you will keep the monies earned by your in-person sales.

Signings at writers’ conferences are usually a bit pricy for the number of books you might sell, but they are great ways to network.

What are the minimum costs for working a table at a signing event? The bare minimum expenses are as follows:

  1. You must have a stock of books on hand. You can’t sell books that you haven’t ordered. I order well in advance, as it can take three weeks for an order to arrive via the least expensive shipping method. Paying for overnight shipping of fifteen to twenty books is well out of my price range.
  2. We must consider the table fee. A bookstore might not charge you anything for the table, but they may take a small cut if they run your sales through their cash registers.

However, large conferences and conventions will charge table fees ranging from $70.00 to as high as $300.00 or more. This varies with the size and type of conference, the venue where the convention is being held, and the vendors you will be competing with.

Sci-fi and Fantasy fan conventions can be quite pricy. You will be in an immense, crowded room, competing with big-name RPG game franchises and movie franchises, plus all the vendors of memorabilia and collectibles that are available in the vendors’ alley.

  1. If you are able to get a table at a major fan convention, you must pay for transportation, food, and lodging. These costs could be gas, parking, airfare, hotel, etc., if you don’t have friends or family in that area. If you are planning to stay in a hotel, take simple foods that can be prepared without a stove. Being vegan, I tend to be an accomplished hotel-room chef, as most coffee bars don’t offer many plant-based options. While that bias is changing, I still go prepared.
  2. Bring at least one pen for signing your books. I bring four or five because sometimes the pens don’t work as advertised.
  3. cashbox 3The final thing you will need is a way of accepting money. I have a metal cash box, but you only need something to hold cash and some bills to make change with. A way to accept credit cards, something like Square, is a good option. You will find a lot of vendors use Square, but there are other options out there.

These things are the bare minimum you will need to provide. At many shows, you’ll be given a table with skirting and a sign attached to the front with your name in block letters. You can get by with this if you’re on a tight budget. New vendors manage with this minimal setup all the time. This option lets you squeak by on little more than the cost of your books. Your setup and teardown time will be short, and you’ll have little to transport—always a positive, in my opinion.

My good friend, Lee French, is a best-selling YA author and a pro at successfully working conventions. She co-wrote the book, Working the Table: An Indie Author’s Guide to Conventions with the late Jeffrey Cook. She tells us that to really succeed, you’ll need to invest a bit more.

It helps to have some kind of promotional handout. I find bookmarks and business cards are the most affordable option. I know a few authors who order all sorts of little buttons and promotional trinkets advertising their books. They give them out to everyone who passes their table, buyers or not.

Trinkets are nice, but if you are cash-strapped, business cards and bookmarks offer the best return on your cost outlay for promotional material. They are less expensive when purchased in bulk, so I get as many as my budget allows.

You will need a business license to sell books at most conventions. Each state in the US has different requirements for getting these, so do the research and get whatever business license your local government requires. This allows you to get a reseller’s permit, enabling you to buy copies of your own books without paying sales tax. If your state doesn’t assess sales tax, you don’t need this, but you’ll still need the business license.

If you live in a state like Washington State, be smart and set aside the money collected as sales tax. It is not yours and shouldn’t be considered part of your income.

the _book_signing_eventInvesting in some large promotional graphics, such as a retractable banner, is a good idea. A large banner is a great visual to put behind your chair. A second banner for the front of the table looks professional but requires some fiddling with pins.

Lee French suggests getting a custom-printed tablecloth that drops over the front of the table, acting as a banner. It looks more professional, and the books will hold it down, so you don’t have to mess with pins. You can find a wide variety of sizes and shapes of banners and graphic promotional props on the internet.

I have an inexpensive black tablecloth for under my books, but you can get one in the color of your choice. Venues will often provide a white tablecloth, so buying one isn’t necessary, but it makes your display look more professional. Many shows offer a 6’x3′ table, but, as with the tablecloth, check first to be sure you don’t need to bring your own.

I suggest buying book stands of some sort. Recipe stands work, and so do plate and picture stands. Whether they’re fancy or cheap, be sure you know how to set them up so they don’t fall over when someone bumps the table. I use folding plate stands as they store well in the rolling suitcase I use for my supplies.

This brings us to storage and shifting goods. We must move our gear between the table and our vehicle, and sometimes we’re forced to park in inconvenient places. Many people use wheeled bins or fold-up handcarts. Folding luggage carts are a great, lightweight option when you only have a few bins and boxes. I use a large, wheeled suitcase for my books, as I travel pretty light.

I also use a plastic container with a good lid for storing pens, bookmarks/cards, book stands, and other whatnot.

HTB Bookmark side A copyMake your display attractive, but I suggest you keep it simple. People will be able to see what you are selling, and the more fiddly things you add to your display, the longer setup and teardown will take. The shows and conferences I have attended offered plenty of time for this, but I’ve heard that some of the big-name conventions require you to be in or out in two hours or less.

Aside from the table fee and transportation, Lee French says it will cost about $400 for your initial stock of books, banners, bookmarks, and odds & ends. The way inflation is going, it may take more than that, but you can make it less painful by purchasing one thing at a time in advance as your budget allows.

Shop the internet for sales on banners and similar items. You will need to replace bookmarks, business cards, and book stock after each event, but most larger promotional items won’t need to be repurchased or updated for a year or two.

If you plan to get a table at a large conference this year, I highly recommend Working the Table: An Indie Author’s Guide to Conventions. This book has all the information you will need to successfully navigate the wild seas of selling your books at conventions.

And if you choose to embark on the in-person event circuit, I wish you good luck and many happy sales.

working_the_table_French_and_Cook

3 Comments

Filed under writing

Tagged as , , ,