balticon

Morgan’s 2020 Resolutions

/ Morgan Hazelwood / Leave a comment

As January firmly establishes itself, I’m finally ready to talk about what 2020 is going to look like for me.

Last year was intended to be a year of reading, revision, and reflection.

Thusly, I listed my goals:

  1. Blogging/Vlogging
  2. Reading
  3. Revising
  4. Querying
  5. Beta-reading
  6. Conventions
  7. Writing

As I shared last week, I did great on everything on that list — except my revisions and querying — you know, the parts of the list that actually get me closer to publication. Does anyone else see the problem here?

This year? This year my focus is on revisions and querying/submitting.

As always, I like to set SMART goals –

  • Specific – you’ll see numbers and dates!
  • Measurable – you’ll still see numbers and dates
  • Achievable – I set goals for things I have influence over. I’m aiming for an agent, getting something published, but unless I self-pub, I have no control over that.
  • Relevant – I’m keeping my exercise goals and healthy eating off this post. These are all about my writing, the relevance should be clear.
  • Time-sensitive – Obviously, these are intended to be completed in 2020, but some items may have specific dates associated.

So? Let’s take last year’s list and put it in a new priority order.

Morgan, a long-haired brunette, is laying on a carpet, legs in slippers kicked up behind her, writing in a notebook. Behind her is a table and a bookshelf.

1. Revising

Last year’s goal of revising 3 full manuscripts was… ambitious. I clearly was thinking more about what it takes for me to edit (clean up a draft) than about what it takes to get feedback from others, integrate it, and polish the draft till it comes out in my voice.

The manuscript I had ready for querying last year is in the middle of revisions with my wonderful mentor. But? The mentorship officially ended last April, and, although she generously volunteered to keep at it with me, she has paying work that, of course, comes first. So? We’re working through my novel 30 pages at a time.

My hope is to have the revisions done by the end of May, when I hit Balticon. But, life happens. So, what can I do to speed up the process on my end? Make sure that the next 30 page chunk is as ready to go as I can make it before I get feedback from the previous section.

I’m cutting a secondary character’s role in the last 3rd of the journey, and changing the nature of the last leg of the journey quite a bit, so I already know a large part of the plotting changes. Plus, my mentor keeps reminding me to add visuals. As I’ve said before, I worry about what’s in the character’s head and the action. I forget people want to see the world itself. So, that’s my revision priority.

But, of course, there’s going to be some downtime.

To fill that in, I’ve been nudging my alpha reader who has my middle-grade contemporary fantasy (the school play story) and should hear back in the next week or so.

Also? Last year also included writing some short stories and some poetry. Between revising my middle-grade story and getting those shorts and poetry ready for publication, I’ve got a lot to work on.

2. Querying & Submitting

If you haven’t tried to get your work published before, this item might seem confusing. What’s the difference?

Querying is a intro-letter and first chapter or so that you send to a literary agent. Once you have an agent, they often make you do revisions, before submitting your work to a publishing house.

Why do you need an agent? There are many publishing houses that do not accept unagented work. Agents understand what your contract should look like and what is negotiable. Plus? The agent’s job is to know the market — and thus know what your book needs in order to best sell it — and to whom. Typically, you query 5-10 agents at a time.

Submitting a manuscript/short story/poem is what you can do to any editor/publisher who is open to it: publishers (who are open to unagented work), literary magazines, anthologies, etc.

When you’re sending a cover letter and your story to the place that will actually print/publish the piece, it’s called a submission. Typically, submissions are exclusive (unless the guidelines state otherwise), so you have to wait to hear back before you can send to another publisher.

This year, for my short stories and poetry, I’m going to try to get at least 5 stories ready for publication and submit them to at least 10 markets. At least half of those submissions should be before July, just to make sure I don’t forget to put myself out there.

3. Blogging/Vlogging

With you, I’m finding an audience and, I hope, creating a community. You are the people whose queries I help polish as you look for an agent, whose books I add to my massive to-read pile, the people I feature in my Author Spotlights. Blogging puts me out there, keeps me accountable, and gives me a way to give back to the community.

Plus? I haven’t missed a week on my blog since February of 2016 (although, I have done reruns) nor a vlog-post since I started vlogging on June 27, 2017. So? I’d hate to break my posting streak! Thus, I’ll continue putting out a new blog/vlog every Thursday with writing tips or writerly musings.

I’m already off to a great start with this, but when I have them lined up, I’ll also be sharing Author Spotlights or Query Corners on Tuesdays.

I’m thinking of adding some Authortube videos of my massive to-read pile, or maybe an occasional brief weekly check-in since those were popular during NaNo. I just need to find a time that works every week for those, so I can schedule them in advance and make them interactive.

Quote on a grey board on a brown shelf with books behind it.
“And to think, some of life’s best stories haven’t even begun”

4. Reading

I did great on this one last year, but I’m not gonna look a gift horse in the mouth. I had a lot of travel, and managed to hit 41 books, but there’s no guarantee this year will as generous. I even managed to read a decent amount of physical books — but a lot of those were new or re-reads. Not as many from my to-read pile as I’d like to admit.

So? I’m keeping my goal from last year of reading 26 books – a little more than two a month. This time? At least 10 of them should be physical and ALREADY on my bookshelf.

So far? I finished a short story collection I bought over the holidays AND read a book that’s been with me since before I moved. Not a bad start!

5. Writing

Yet again, writing is so far down my list!

I can hear your thoughts, your concerns. What’s wrong, Morgan? I thought this was your writing blog. Why isn’t this more writing focused? Do you want to be a blogger/vlogger more than a writer?

Well, first? Rewriting IS writing, and revisions are tops on my list. The goal is publication and I’ve got 4 manuscripts, 21+ short stories, and 30+ poems just waiting for a home.

More writing right now just means a larger backlog of things to be polished.

But! Never fear, I will be doing OctPoWriMo again — writing a poem a day for all of October. And then NaNoWriMo — writing 50,000 words in November. If I’m really stumped in November, I’ll rebel and revise either 5 shorts or a full manuscript. But, knowing me, I’ll probably make new words.

6. Beta Readers

I’ll be reaching out to beta readers as I wrap up my revisions on my middle grade novel, hopefully before August. Last year’s goals of having revisions of two different manuscripts done by May AND July were unrealistic.

As always, I like to keep my beta reader pool to no more than 8 readers, typically from different backgrounds. I usually give them separate copies, so that their feedback won’t influence each other.

I’m considering joining a local critique group and feel that short stories work much better in those venues than a full manuscript. Especially since I’m more interested in feedback on my pacing and characterization than the chapter itself. I guess it’s arrogance, but I think I know where my problem points lay.

On the flip-side, I’m now a contributing editor to The Oddville Press, an online literary magazine of odd, but not really fantastical tales. I’m also a regular beta-reader for my dad (who’s retired from a day job and enjoys filling my inbox). Not to mention, I have a few critique partners, and writer friends who have been known to reach out for feedback. I will try not to commit to more than 3 full length betas this year.

Morgan taking a selfie while sitting near the front of a room full of chairs. (She's at a writing panel at a convention)

7. Conventions

Actually, maybe I should have changed the name of this goal. This should be all the in-person writing goals. I aim to attend 6+ open mic nights, 4+ monthly writer meetings, try a critique group, and 3 NaNoWriMo events (kickoff, 1 write in, and the all-nighter till 11pm). Plus? Two+ conventions.

I intend to hit Balticon again (May) and — if everything works out — WorldCon (August) in New Zealand (!!). I submitted to be a panelist at Balticon again… and this time was accepted! And? I think they approved the panels I suggested (topics from this blog that I feel I can talk competently on, and that my unpublished perspective won’t be a detriment to my authority on the subject).

How do I know they approved them? They recruited me to be on their Programming team! (Apparently, after attending nearly 30 panels a year for the last 5 years, they suspected I might have opinions about what makes a good panel and who are the good panelists.) So, that’s another time commitment.

What does being on panels net me? Why do I want to do this?

First, it’s a greater reach for my blog and vlog. Plus, a larger audience when I do get published. Hopefully, a way to make more friends and supporters. Plus, a chance to talk about all the stuff I obsess over on my blog and on my vlog in person with actual people.

But how does attending conventions count as a writing goal? Isn’t it just fun? Or part of your social media addiction?

Well, if you’ve been following my blog, you’ve probably noticed that over half the content is actually write ups from notes at convention panels! I attend the panels, for those who can’t (or don’t). Also? My sister teases me that I act like a teacher, trying to get her recertification credits, all in one weekend.

And? Well, I talked about it in my post on attending conventions, but, of course, there’s the networking aspect. The science-fiction and fantasy conventions I prefer are full of readers, writers, and even some publishers and agents!

In Summary

As is becoming my trend, the first part of my year will be focused on revisions, the middle on conventions, and the end on writing. Plus, I’ll be reading and blogging and vlogging throughout the year.

Except December. I’m not a writer in December — everyone needs a chance to breath.

We’ll have to wait until next January to see if I had 2020 foresight.

What does your plan look like for 2020

Did you build in flexibility?

And, how SMART are your goals?

See my previous years resolutions and reflections:
2017 Resolutions | 2017 Retrospective
2018 Resolutions | 2018 Retrospective
2019 Resolutions | 2019 Retrospective

Done To Death: The Art of Killing Characters

/ Morgan Hazelwood / 4 Comments

When you’re reading a story and a character dies, you can tell if it’s just the writer trying to manipulate your emotions or if it’s good storytelling.

In the titular panel at Worldcon77, Patrick Rothfuss, Veronica Roth, Su J Sokel, Amy Ogden, and Daryl Gregory did their best to make sure we know that every death should count.

Before we got started, the panelists listed their credentials…

How many characters have you killed?

  • Su killed 3 in one novel.
  • Veronica, in her Divergent series, asked if we counted “outside of catastrophic events?”
  • Amy killed all of humanity. Twice.
  • Patrick has killed 5 characters.
  • Daryl says his only die offstage.

How To Use Death and What Deaths Are Overdone

Fridging Characters

There are tropes that keep popping up, and one of the most trite ones in fiction is using the horrific death of a 2-dimensional female character to motivate the (usually male) main character.

From TVTropes: “The name of the trope comes from a storyline in Green Lantern, in which the villain Major Force leaves the corpse of Kyle Rayner’s girlfriend, Alexandra DeWitt, literally stuffed into a refrigerator for him to find.“

We’re not saying horrific deaths are bad (in fiction. Please don’t kill people.) We’re just saying they need to matter beyond character motivation.

Parents

Many stories start off with the parents being killed. Even books for those who aren’t old enough for school. And this is traumatic for small kids. We want to teach empathy. We want them to understand death. This is a bad way to do it.

Daryl’s daughter would always go ask him for a snack during the Lion King stampede and get back just as Simba was running away.

Patrick’s sons loved the 3 Little Pigs and the wolf destroying the houses. But they wanted him to tell it without gobbling the pigs all up.

As Amy said, “as a mom, I’m tired of seeing myself die. As a queer person, I’m tired of seeing myself die.”

Queer Characters and Characters of Color

Either as bad guys or as expendable characters, queer characters or characters of color are often the first to die.

Children

Killing children, just to demonstrate that the villain is a bad guy.

Patrick declared, “if that’s all you can do, you’re a bad writer. I stand by this.”

Other

Veronica, in retrospect, admits that there is a bullshit death in her second book. She could have handled that differently. There are plenty of horrible ways to LIVE!

The list could go on. Do we want to show readers the gritty truth, or a better world?

How Do You Make a Death Not Bullshit?

  1. Give fullness to the dead character’s story arc
  2. Try to only kill well rounded main or secondary characters, but think first if there is another way to progress the plot.
  3. Listen to the character – they should tell you if their death is bullshit.
  4. Feel free to have foreshadowing — best done when it’s only obvious in retrospect.
  5. Context matters — who is being killed by whom?
  6. If you do kill characters — parents, children, lovers, make it matter. Make the reader cry and miss them forever.
  7. Showing life after trauma is important.

The Power Of Writing

At this point, the panel started to meander, but we followed along for the ride.

Patrick shared a story. After the Frog Princess, 70 kids were hospitalized from salmonella (from licking frogs). Now, he worries a lot about the consequences of what he writes.

Veronica asked, “then how do you write?”

Patrick — the man whose audience is still waiting, 8 years later, for book 3 of his series — replied, “I’m the wrong person to ask.”

Where You Are Emotionally Affects Your Writing

For almost all of us, what we’re worried about and what we’re struggling with tries to come through in our writing.

There are two approaches.

  1. You can try to leave it at the door.
    • Personal essays, blogs, etc on whatever is bothering you can be a cathartic way to get it out, so you can focus on the story you want to tell.
  2. You can use your writing to work through it
    • So many writers end up doing this. Even if they don’t know that they are.
      • Veronica’s first series was literally about exposure therapy. Later, she went on to be prescribed it!
      • Patrick was thanked for his handling of PTSD in his writing. 10 years later, he realized where it came from. Now he’s in therapy.
      • Amy notes that as a mom, she’s leaving a worse world for her child than she was given. Everything she writes is about climate change.
    • NOTE: Mission-oriented novels come across like after-school specials. It’s okay to work through things, but forcing the theme doesn’t come across as genuine.

[Audience Question] How Do You Handle Villainous Deaths

Everything should be complex — the desire to simplify makes it less real. Just remember, death is a change and it’s the final one. [source?]

Disney took the violence out. Took the blame out. The hero still wins, the bad guy still dies. But, the hero isn’t the hand by which the villain dies. And that might be wrong. There should be consequence.l

[Audience Question] Which Death Would You Undo?

Veronica said, “Lynn.”

Amy’s answer? “Humanity deserved it.”

What stories have you read where death was handled wrong? Which ones have done it well?

If you write, how many characters have YOU killed?

The Future of Podcasting

/ Morgan Hazelwood / 1 Comment

Podcasting has had its ups and downs since it first started. The market is big, but there’s a lot of small fish out there and it’s hard to get noticed.

At the titular panel at Balticon53, Mark Redfield, Mike Luoma, Philippa Ballantine, Christiana Ellis, and Fred. G. Yost discussed where podcasting has been and what they hope and fear we’ll see in the future.

What Is Podcasting and Where Did It Come From?

Podcasting, for those who are unfamiliar, is the practice of using the Internet to make digital recordings of broadcasts available for downloading to a computer or mobile device. Traditionally, these were audio-only, but some are on Youtube.

Caveat: I have a vested interest in this topic. The Anansi Storytime and other Legendsmith Productions I help voice are podcasts.

Technically, you could argue that my vlog is a podcast — especially since I’ve been considering downloading the mp3s and setting them up on a server…

Many podcasts grew out of the audio-dramas from radio of yesterday – and these really capitalize on the strengths of the format. Some grew out of blogs. Some grew out of traditional radio talk shows.

Podcasting gone through several phases:

  1. A ‘nerd’ thing
  2. OMG! Podcasts are everywhere!
  3. Yeah, podcasts. *shrug* They’re normal. Like TV.

Podcasting is more democratized than traditional media, but there is the fear that as it gets bigger, it will become more corporatized, regulated, and controlled. Like the internet.

Where Is Podcasting Going?

To the best of my knowledge, none of the panelists were time travelers or gifted with foresight, so all of these are clearly educated guesses, wishful thinking, and/or fears.

  1. There’s a lot of fan content – some image that will only grow
  2. There’s a feel that the podcaster ‘clubhouse’ was invaded by infomercials – but the money’s not there, so this may be temporary.
  3. Niche marketing (with big bucks) from corporations however, is a bigger concern and is competing with home-grown content.
  4. Corporations and old media are just porting stuff wholesale — this doesn’t always work. But they’re risk averse.
  5. Patreon is already helping support podcasters (or at least pay for a little bit of the equipment) — subscriber Podcasts are coming to other medias. Some are now on Luminary.
  6. It’s getting mainstream!
  7. The fear? A lot of the popularity is driven by obnoxious commutes. As self-driving cars become a reality while more and more companies have work-from-home policies, the audience might shrink.

Tips For Podcasters

  1. You need consistency
    • Publish regularly
    • Pick a tone/voice
  2. Don’t be generic — you’ve got to show your passion
  3. Don’t chase trends — grow your community
  4. Professionals having fun does better than a clean, polished lecture. (Where do I fit on that spectrum, peeps?)
  5. Don’t tie all of your media to one service
    • The host might change the rules and flush your content (Tumblr)
    • The host might decide you’ve violated copyright/decency/etc and delete your content.
  6. If you record a long segment, don’t be afraid to break it into sections! A part 1 and 2 can be good for driving more listeners to the earlier content they might have missed

Do you listen to podcasts? What sort of podcasts do you like?

What do you see for the future of podcasting? Did the panelists get this one right?

Sex, Sexuality, and Worldbuilding

/ Morgan Hazelwood / 6 Comments

My last post was on asexual representation. Literally. Today, I bring you the flip side. I mostly write younger stuff or fade-to-black scenes to avoid any explicitness of this issue, but a lot of you out there are writing it as the forefront of your novel.

At the titular panel, moderated by Jennifer Povey: D’Amanda Martini, Nobilis Reed, Mark L. Van Name, and Lisa Hawkridge managed to keep on topic WHILE keeping it all about books and writing. I was VERY impressed.

Relationships: Marriage and Divorce

For much of history, sex and sexuality revolved around marriages — on either side of the covers. When writing a story, you don’t have to be bound by your cultural assumptions. Your characters should be bound by the cultural assumptions of the time and place they’re in. In historical or contemporary settings — do your research. In science-fiction or fantasy? You can make relationships look like whatever you decide.

Here are some things to consider when worldbuilding.

  1. How are relationships made official?
    1. Does your world have a body (church/government/etc) recognizing and validating relationships?
    2. Or are relationships self-declared? To oneselves? Or to the gods?
  2. What are the societal expectations that go with a committed relationship?
  3. Who is allowed to have an official relationship? And to whom?
  4. Are marriages for life? Or do they have an expiration date?
  5. How does inheritance work? Blood lines matter more when something’s at stake.
  6. One can look to the animal kingdom for relationship styles beyond the cis-hetero-marriage for life default-assumption of most of the Western world.
  7. Is pregnancy preventable? If so, a lot of options open up for women.

Taboos

All societies have taboos around sex. About who you can and can’t be intimate with. When and where it is most acceptable. When world building, you can use traditional taboos as well as your own.

  1. Depending on your world, there can be all sorts of speciesist taboos:
    • Those who hook up with [the tentacle monster/fae/etc] are bad
    • Only elite/etc hook up with [tentacle monsters/fae/etc]
    • Those who don’t hook up with [tentacle monsters/fae/etc] are bad
  2. Powerful people have different limitations
    • Cersei and Jaime thought they were elite enough to follow the Targaryen rules.
    • Sometimes, the elite have tighter restrictions
  3. Taboos might exist in some places in your world, but not others. Remember that enlightenment isn’t universal, or even uniform.
  4. Upsetting gender role expectations during intimacy. Who does what to whom.
  5. If nothing is taboo, people will make something taboo.

Tips for Writing Erotic Scenes

These come from the panelists. I don’t really have much experience with this, but maybe I’ll eventually give it a try.

  1. Check your own assumptions
  2. Find inspiration – preferably legal with consenting adults
    • Your own experiences
    • Fanfic
    • Film
    • Livestreams
  3. To get past discomfort
    • Just write it.
    • Write something so over the top and ridiculous, that you can hopefully get past your inhibitions
    • Remember that no one has to ever read it.
    • Take suggestions of what to write, so your brain doesn’t get in the way
    • Check in about what is making you uncomfortable, is it something you have a reason to care about? Or is it social pressures/my mom might read this (hi mom!)

For another approach — the natural progression for intimacy has been reduced to a formula that you can put into good effect in your own writing! Here’s a great link.

Writers Who Explored Sexuality

People have been exploring sexuality and relationship structures forever. There’s a long history writers – in novels, tv, and film exploring different concepts within their writing and beyond.

Clearly, this list is incomplete, but the panelists gave us a good start.

  1. Asimov keeps sex short. He wrote one where spores were sex.
  2. Heinlein’s line marriage in Moon is a Harsh Mistress
  3. Le Guin
  4. A Land Fit For Heroes (“darker, gayer, Game of Thrones”)
    • By Richard K Morgan (of Altered Carbon)
  5. Brokeback Mountain
  6. Discovery – Star Trek finally having an onscreen gay couple

What tips do you have for adding sensuality to your writing?

What authors would you recommend?

(Note: Please avoid explicit material in my comment section. It will be removed. Let’s keep this education, folks.)

Improving Your Readings

/ Morgan Hazelwood / Leave a comment

From authors who are asked to read their own work at signings, to audiobook narrators, to podcasters, there are a lot of us out there who want — or need — to get better at readings.

At the titular panel, at Balticon 53, Tee Morris, Jean L Cooper, and Mike Luona shared their best tips.

6 Steps Toward Creating Character Voices

  1. Keep the character’s background in mind
  2. Use a key phrase to get into the character’s voice, to help with consistency
  3. Use your ‘normal voice’, (or something close to it), for the narrator and/or main character
  4. For opposite gendered characters, you can pitch up or down a touch, but don’t fake it
    • For some female characters, a breathier tone works, even if you don’t change the pitch
  5. Listen to how other actors present their different characters
    • For a fantasy accent — try combining 2 real world accents badly
  6. Avoid stereotypes!
    • For accents, if you can’t skip it — try acting classes or online videos but do these with a light touch

5 Tips For All Readings

  1. Practice cold-reading
    • Pick up a book at random and just reading a few pages!
  2. Hit the narration just as hard as the dialogue
    • Paint a mental picture with your voice
  3. Know when to pause
  4. When a phrase becomes a stumbling block, slow wayyy down.
    • If in practice — go over it very slowly, mouth it carefully, repeat it a few times, get that muscle memory in thereIf live — pause, mouth it to yourself, then try again
  5. Don’t be afraid to be dramatic – the audience builds off the energy you bring to the table. Feeling a little over the top is probably just right for most of us.

And one bonus tip, specifically for audio books:

  • If you can, read the book to yourself once ahead of time, marking all proper nouns, unfamiliar words/terms, and confirm pronunciation before beginning.

Any tips the panelists ran out of time to mention? Anything I got wrong?

What do you do to practice? Any toastmasters out there?