O-1-cap ne of the panels I attended at Bouchercon was called Dark Books for Dark Times. Personally, I am not of the opinion that we are living in particularly dark times, as the title suggests, but I attended the panel because the topic of darkness itself is intriguing. 

It turned out to be one of the best panels I attended.

The central question of the panel, for crime fiction readers and writers alike, was "What draws you to darkness?" I'm not sure I can answer that for myself. When I was younger I shied away from dark or scary fiction because I was afraid of nightmares. In my twenties, I had to be very careful because I lived alone and the suggestion of violence, crime, and murder could result in a sleepless night. I didn't come to crime fiction until my thirties, when I suppose I felt safe to explore the dark side of fiction because my own life was secure.

My reading preference now is the darker, the better.

The most interesting question of the panel, however, was (paraphrased) "As an author, is there any topic or theme that you won't write about? Is anything out of bounds?"

The first author to answer the question was Duane Swierczynski, who said he was reluctant to write about violence to children, especially since becoming a parent. The other authors pretty much agreed that nothing was out of bounds if it was part of the story (I think at some point, Duane was kiddingly referred to as a "wuss").

Of course I had to ask myself the same question. What is out of bounds for me? Not even a month ago, I probably would have said that writing about violence to animals, specifically, dogs, was something I didn't want to explore. I couldn't finish American Psycho after the passage where he tortures a puppy. In general I find this topic so disturbing it distracts me from the story. Recently, however, I decided that I'm doing myself and my readers a disservice if I go into any story with pre-set limitations in my mind–not that I intend on killing any dogs or children in my fiction any time soon, but if the story requires it, so it shall be.

After the panel, I started thinking about experiences I could draw on to bring forth the darkness in my writing. Frankly, I've led a life pretty much filled with light. However, I thought about how I felt when we put our dog Kramer down in December, the moment of utter despair I felt when the vet took his pulse and said "He's passed." Whew. I can feel it again now. That scene is so dark for me I can't stare at it full-on in my mind, I have to glimpse it as through a keyhole and close the door on it quickly.

Another experience I recalled was when a boyfriend who was much bigger than me was tickling me and no matter how hard I shrieked for him to stop, he wouldn't. I felt helpless. Tickling had turned into a power play and I realized that I had no control over the situation. If he became violent, there was nothing I could not have stopped it. Obviously, this example is not so dramatic as the first one, but it did give me some idea of what it might feel like to be physically assaulted.

Why, you might ask, would I want to write anything that would cause my readers, or myself, for that matter, anywhere near that kind of experience? Um, I don't really know. I only know I am drawn to darkness and I need to explore it, both in my writing and my reading. I know I am not alone in this–crime fiction has millions of fans all over the world.

What about you? Is there anything off limits in your writing? What about your reading?

The lovely "O" at the top of this post is courtesy of Daily Drop Cap.

The month of November is National Novel Writing Month, and this year I'm participating for the first time. I'll be writing my second Isabel Wilde novel (as yet untitled).

Badge 

You may be asking why I would start another novel when I haven't even finished the first? For a few reasons, actually. I'm editing the first novel now, and believe me when I say it's hard and tedious work. I miss the fancy-free process of writing a first draft. I just don't have the brain power necessary to spend eight hours a day editing, so the second novel will act as a kind of supplement to that.

I'm also hoping that the writing I do for the second will aid me in editing the first. Any opportunity I have to get to know Isabel and her cohorts is an opportunity to enhance the first book and all subsequent books.

Even though I have a first novel, which has so far been written as the first in the series, being unpublished means it might not end up being the first in the series upon publication. My goal is to get published, and whichever book is the best will be the one that gets to submitted to agents. It is quite common for authors to write several novels prior to getting their first novel published, and the initial ones never see the light of day. I'd hate to think that all the work I'm doing on Diary of Bedlam is for naught, but the fact of the matter is that right now I'm learning how to write a novel. That means lots of mistakes and lots of bad writing. If Diary of Bedlam never gets published, it's okay because it will have been the stepping stone for the book that does get published.

One thing I've learned over the last year of writing primarily fiction is that writing and constructing a full-length novel that anyone would want to read is the hardest thing I've ever done. I have so much respect for the writers, even ones I consider mediocre, who do it.

Hey, what about you? Do you have a novel inside of you? Get writing in November and share the fun (and misery).

Much of the work I've been doing lately is studying story structure, particuarly the structures of mysteries.

As much as I enjoy the reading, it's tedious work, but I think it's necessary. At the recommendation of more than a few writers/writing guides, I have gone so far as to re-type chapters of novels so I can take a closer look at both the writing and the structure.

Today's task has been identifying the basic structural elements of several chapters in Sue Grafton's A is for Alibi. I've chosen this book because Sue is one of my favorite authors and the structure of this book is similar to what I've already written for Diary of Bedlam. The elements I'm looking at today are Characters, Locations, and Purpose.

Characters
1) Introduced (Which character(s) appear for the first time)
2) Mentioned (and will apparently be introduced later)
3) Main interactions

Locations

Purpose
What does this chapter accomplish for the story

To use Chapter One as an example:

Introduced:
Kinsey Millhone (MC)
Nikki Fife

Mentioned:
Laurence Fife (Victim)
Con Dolan
Charlie Scorsoni

Main Interaction:
Nikki Fife

Locations:
Kinsey's Office
Kinsey's Car

Purpose:
Sets up case. Nikki Fife, convicted of her husband's murder eight years before, hires Kinsey Millhone to find out who really killed him

Going chapter by chapter by chapter, I can see how characters are gradually introduced, how each chapter progresses the novel, and how many scenes are generally used per chapter. Going back to my own novel, I can check and see if I may be introducing or mentioning too many characters all at once, or not using enough locations, etc.

I have done this with other books as well, in an attempt to get an overall idea how mysteries are structured. So far I've found this exercise to be very useful–possibly the most useful I've encountered so far in the re-write process.

Today’s post was originally a comment on my blog by ParkerXL, but I thought he made some good points and it deserved a post of its own. Thanks, Parker!

I’ve long held the belief that characters are the true driving force of stories. Many disagree with me, but I think its true.

We’ve come to the point now as writers and readers where every story has been re-written and re-told; there are only new characters.

All stories are driven by life itself, whether you choose to tell that story in a historical setting or on another non-existent planet, the story is still based around the lives of people.

It is the people in your real life that make your life what it is. As it will be the characters in your book that make your story what it is.

It happens in film too. There are people who have never seen Gone with the Wind, but they know who Rhett Butler is. There are people who have never seen Star Wars, but they know who Darth Vader is.

When you read a book, finish it, and miss the characters after you finish the last page, you know you’re getting the next one. But you couldn’t really turn around and give me a detailed run-down of the plot you just read without glossing over it, could you? Yet you know the characters like they are close relatives, or even an extension of yourself.

The key to making people love your book is to put in it characters that feel so real, the reader imagines one of these three things:

1) That character being so much like the reader that they feel they share much of the same characteristics, and are essentially the same person.

2) The reader knows or is related to someone exactly like the character.

3) That the character could be out there somewhere, in the real world. one day they might cross the reader in the street, brush shoulders, give a quick smile, and then they’ll be gone.

Great Books = Great Stories = Great Lives Life = Great People = Great Characters.

I welcome guest posts! If you have something you’d like to write about for my blog, contact holly -at- hollywest.com and we’ll discusss it.

Maass_workbook True to my word in yesterday’s post, the last few days I’ve begun my work day by reading a chapter or two in some of my favorite “How-To” writing books. So far, it’s been a valuable exercise, particularly in the area of character development.

Last Thursday, I wrote about who my characters were based on. But that doesn’t address who they really are. What drives them? What experiences have they had that continue to impact them throughout their lives? What are their quirks? The answers to these questions help to create vibrant, compelling characters that, as they say, jump off the page.

One of the key questions I’ve been working on is defining my characters’ inner conflicts. It is an important part of making your characters memorable, and frankly, I don’t think I’ve given it enough thought, even with my main character, Isabel Wilde. I feel like I have a clear idea of who she is and what her desires are, but how am I making that clear to the reader?

First, what is inner conflict? It’s when a person wants two or more things that are mutually exclusive, or, put another way, two opposite desires that are equally strong.

A simple example would be a guy who hates his job, but can’t quit if he wants to make the payments on his expensive dream car. What will he choose–the awful job or the cool car? Hopefully, your characters will display less shallow forms of inner conflict, but you get the idea.

Another example? A woman whose in love with two men: one is boring, but she knows will give her a security life, and the exciting bad boy who will only cause her grief.

Donald Maass’ Writing the Breakout Novel Workbook has been a great tool for me because the chapters are short and to the point. It also incorporates many examples from published fiction which makes it more interesting than just reading instructional text. It forces me to define Isabel Wilde’s inner conflict, which in the end, will make her a much better character.

Monday_goal Wow, a month flies by when you've got goals to accomplish. I'm not sure if that's a good thing!

Since I am having so much trouble editing my novel, part of this week will be spent getting back to basics. I have so many books on "how to write," "how to re-write," and "how to" almost everything else that has to do with writing. It's been a long time since I've spent any time reading any of them, however. Having some solid advice on how to proceed might be helpful.

So where am I? As I write this (Saturday, September 12) I'm struggling with chapters four and five. I was hoping to be finished with chapter 7 by tomorrow, but it's unlikely that will happen unless I make some serious changes to the way I'm editing. Right now I'm still treating this first re-write as though it were the final re-write and I'm beginning to find that's a mistake. I think it's the main reason for all this "block" I've been experiencing.

I've also started a new kniting WIP in an attempt to find some balance in my "recreational" life. The new issue of Knitty came out yesterday and there were a few projects I was interested in, but based on the yarn I had I decided on this one. I love its shaping, especially the sleeves. It's likely to take me until Fall '10 to finish it, but it's nice to have something on the needles after so much time.

So all of this said, my write goals for this week areA) to continue editing B) to re-vamp my method, which clearly isn't working, and C) to find some balance by knitting, writing blog posts, and possibly working on another writing WIP in between.

Lofty goals, but I'll do my best!

Link-o-rama Today is a day of reflection as we look back upon the terrible events of 9/11, eight years ago.

Reading Underground - The subway remains an "unconnected" place. And so, New Yorkers read. via @mitaliperkins

Pug in my Computer – Something happy to remind you how nice life can be (via @ParkerXL)

The Elusive Fifty Percent - In marketing, about 50% of your ad campaign will work. But for an author marketing their own work (now an essential part of the publishing process) how do they know what to concentrate on? (via @jamesscottbell)

Writing with a Knife - A timely post from Copyblogger since I'm currently taking a machete to my manuscript (via @D_E and @thecreativepenn)

North Carolina Writer's Police Academy - One of these days I'll have to go to a writer's police academy. For now it seems unnecessary since my book(s) are set in 1678.

I found this amusing video on Persia Walker's blog. It was made by Brad Meltzer (author of loads of books):

Finally, I'll leave you with this quote from Anne Frank:

"Despite everything, I believe that people are really good at heart."

Have a reflective day and take the time to do something thoughtful for another or even yourself. Kindness is sometimes in short supply.

Diary_of_bedlam_cover 

Awhile ago, someone on Twitter suggested aspiring writers create a mock version of the cover of their novel. I never did because it didn't seem like such a useful exercise. Yesterday, however, I decided to give it a shot.

Boy, was I wrong! Just seeing this cover makes me feel all happy inside, and motivated to make it a reality. I should've done this a long time ago.

When the day comes that I have an actual book with an actual cover, there will be dancing in the streets.

Monday_goal Over the weekend I came to the sudden realization that time is running out for me.

In November, I'm going to a writer's conference in Boston, during which I've committed to a meeting with an agent and a 5-page manuscript critique. For this I will need, if not a polished manuscript, a fairly good start at one. Right now, I'm nowhere close.

I'd like to get my second draft finished by October 10. I have about two days per chapter for editing between now and then. Considering it took me three months to get to Chapter 3, this is a lofty goal indeed.

By next Sunday (9/19), I need to be finished editing Chapter 7.

I've settled into an editing routine that is more or less working for me. I read a chapter to get a rough idea of what I'm dealing with (i.e. how bad is it?) then I read it again, this time writing down key things that need to be edited to make the chapter makes sense and jives with the rest of the novel. Sometimes this means I add passages, sometimes it means I delete, sometimes it means I move sections to different parts of the chapter or to add it to a different chapter altogether.

Sometimes it means I just sit at my desk drooling or pulling my hair out.

It feels very much like I'm putting a puzzle together. There are all these elements that exist and now it's my job to put them together so they make a pretty picture.

I leave you with this video about editing a novel. Lara Zielin's debut novel, Donut Days, came out last month and the video is a fun take on her experiences with the road to getting published:

Yesterday, people on Twitter were posting pics of their workspace. Here's mine:

Desk 

In the last few weeks I've tried to make it as comfortable and clean as possible (I do spend a large portion of my day here, so it helps if it's organized). My favorite thing in it is the picture above the desk: it's a David Hockney print of his two dachshunds.

I recently added something I've wanted to have for a long time:

Chandelier

It's just an inexpensive chandelier from IKEA, but I love it!

See my poor little bookcase in the corner? Doesn't hold a candle to Neil Gaiman's library, but I'm working on it!