Category: writing life (Page 15 of 19)

What happens when the ideas dry up?

I know Bradbury’s answer: “Read a poem, a story, and an essay every day.” Without a deep well of “metaphors” (his word for ideas/images/stories), we dip the bucket in time and again and come up dry. That’s where I’m at right now with imaginative, fictive writing.

I’m writing plenty of nonfiction: blogging, notebook thoughts, book reviews, lesson plans and such. But my stories have become a wasteland of nothingness. No ideas. No images. No stories to tell.

I suppose I can blame my own perfectionism, the way it creeps into every crevice of my head and tells me, “No, that’s a terrible idea.” Or: “No, that’s no good. You sound like a hack.” But lately, in the last couple of weeks (since mid-May, perhaps), when I go into my head to find some words or ideas for a scene, I find nothing. Emptiness. Total blankness. Silence.

Am I not reading enough poetry? Not enough stories and novels? Not enough pleasure reading and daydreaming?

I definitely don’t do enough daydreaming. When I get a moment of quiet, I spend it reveling in the quiet and barely a thought peeps out. I’m out of practice with daydreaming, but how do I get back into practice? I know part of the problem is that I’m a worrier, and now that I’m a mom, I worry ALL THE TIME. I worry that my kids are sick, or that they’re not eating well, or that they watch too much T.V., or that something catastrophic will happen to them (unlikely stuff like a tornado hitting our house or a fire or a gas leak) (which is not to say that those things don’t sometimes happen, but the inordinate amount of time I spend worrying about them is not healthy or sane). I also worry about work, about appointments, about deadlines and bills and engagements and special events: all of the activities and responsibilities of life that weigh me down psychically. All the Things I Have to Do. Too many Things.

I have a hard time putting all of these deadlines and due dates and events out of my head and just letting go. Which is why I seldom daydream anymore. Driving to work or taking a shower are my only daydream moments, it seems. (Neither of which I do very much when school is on break for the summer. No driving to work, and fewer showers because there’s no one to watch the kids while I clean up.)

So I am stinky and lacking in daydreams.

What I could do is read more fiction and poetry. That, at least, is something I have control over. I’ve been on a nonfiction reading kick lately (and the books have been wonderful, no doubt), but maybe I need to set aside the nonfiction and get lost in a bunch of fantasy novels and Victorian poetry and even read some myths and legends again.

And maybe I need to start writing crappy dialogue and hackneyed plot devices and terrible prose and just live with it. Better to write shitty stuff than to not write at all (she said with some doubt but still with as cheery a tone as she could manage).

I go through these dark periods a lot, don’t I? Lots of “writer’s block” and lack of ideas and whinging about it on my blog. I feel bad spewing my negativity onto the Internet, but I also don’t feel bad. This is my blog. It’s my space to write my thoughts. I don’t have to put on a performance, to be “on brand,” or to sell anybody anything. If I want to whine and bitch, then I can whine and bitch. And if nobody reads it, then no big deal. I’m not trying to rack up hits or likes or anything of the sort. I’m just putting my ideas out into the world and perhaps someone will stumble upon them and see a kindred soul. Or not.

Anyway, I should probably write some bad fiction now. Let all my adjectives be shitty and all my characters cliche!

A Wizard of Earthsea and How Great Books Can Inspire My Writing

earthsea_coverWhen I wrote the second draft of The Thirteen Treasures of Britain, I was also reading The Last Unicorn. Even though my story and Beagle’s had little in common, the music of his prose, the vitality of his world made an impact on me while I was writing. I wanted my book to capture some strain of the magic that I felt The Last Unicorn possessed. Even though I knew my own novel would never equal Beagle’s masterpiece, I wanted to try. In short, The Last Unicorn was inspiring. It energized my writing, and I found myself more joyful while I read it, and more joyful while I was writing my own story.

It’s no secret that I’ve had trouble finishing my second novel, Ysbaddaden and the Game of Chess. I’ve had babies, become the mother of three children all under the age of five, struggled to navigate the demands of teaching, mothering, and adulting, and all the while, I’ve felt less joyful and more overwhelmed. My writing time has evaporated, and with it, a lot of my enthusiasm. I’ve still managed to push on, to write even when it feels like a slog through the Swamps of Sadness, but without that spark of joyfulness that I felt when drafting The Thirteen Treasures. So this second book is taking an eternity to finish.

Curiously, at this very moment, I’m reading another classic of fantasy literature (A Wizard of Earthsea), and I’m finding myself suddenly joyful and energized again, inspired to sit down and work on the draft of my own novel.

Just like what happened with The Last Unicorn.

Le Guin’s prose, the depth of her world and her themes, the way I become completely immersed and lost in her story, the way it feeds my imagination — all of these things remind me of what it’s like to be a fantasy writer, to dream up characters and places and fantastical creatures. And when I do sit down to write, I feel nourished by Le Guin’s story. Great writing makes us as writers see what’s possible, what can be achieved with words, and when I know there are storytellers out there who have reached greatness, then in some small way, I hope I can reach it too. I know I won’t; that’s not the point. It’s the striving for greatness that gives me energy, that helps me find joy in my writing.

I am, at times, haunted by Ray Bradbury’s maxim to “write with gusto.” So much of my writing over the last year and a half has not been filled with much gusto. But when I read a great book — fantasy or otherwise — I gain some measure of gusto, some “kick-joy” (as Kerouac? would say), and I begin to wonder why I don’t just read great books all the time. If these books work like a tonic on my brain, why wouldn’t I imbibed every day? Why am I spending time on things that don’t fill me up with this kind of excitement and awe?

I suppose it’s because we don’t know which books will contain the magic until we start them, and I’m the sort of reader who hates to abandon a book once I’ve started it. There are a few that I DNF, but they are very few. And I also feel obliged to read widely in my genre, most particularly the books being published right now; I can’t exactly restrict myself to the Great Classics of Fantasy if I’m trying to keep up with what’s being written currently. Of course, I’ve read some current fantasy that has indeed been the magical-kind-of-great that I’m describing in this post, but without the benefit of time and distance, it’s hard to know which of these books will be The Ones, and which won’t.

Maybe I need to constantly have a great book on hand, for those times when my verve seems a little limp. I can always read more than one book at a time; I’ve been that kind of reader since I was a kid. But now I realize that I DO need to keep pumping blood into my imagination via these great books. I need Ged — naming the otak, struggling against the shadow, overcoming his pride — and others of his kind to journey with me, keeping me on the path of adventure, like Gandalf and the dwarves leading Bilbo to the Lonely Mountain.

Kings of Paradise by Richard Nell (TBRindr review)

kingsparadiseAny book that can make me feel sympathy for a cannibalistic child-killer is obviously doing something profound. Richard Nell’s first book in his Ash and Sand series is nothing if not ambitious. Which I love. I love when writers try to actually say something with their work, when they try to find deeper truths. Exploring the inner workings of a broken sociopath while also delving into big questions like, “Why is the world unjust?” and “How are we called to respond to that injustice?” is a feat unto itself. Most writers satisfy their ambitions by trying to write a good plot with good characters; few writers seem up to the challenge of writing a great story, great characters, and powerful themes. Nell attempts that here, and I find that immensely exciting.

As soon as I read the first few chapters I knew that Kings of Paradise was trying to do more than just tell a ripping good story. It was trying to say something, to explore themes, to offer meaning, to stick to the bones in a way that had me immediately hooked. It also helps that Nell is a gifted writer with an amazing knack for creating characters that are dynamic, rounded, and utterly engaging. Whether it’s in the story line of the aforementioned sociopath, Ruka, or in the idealistic survivor Dala, or in the struggles and heartbreaks of the fundamentally-decent Kale, Nell’s characters feel fully alive, and I wanted to join them in their journeys of revenge, self-discovery, and enlightenment.

The world of Kings of Paradise is a neat little twist on the usual geography we residents of the Northern Hemisphere usually get in our fantasy settings. The Ascom, with its vaguely Norse-inspire names and culture is actually an Antarctic-type continent where South is colder than North. And the island kingdom where Kale lives and is prince is modeled on South East Asia (it’s a great economic power in the region, so maybe we are meant to see nods to the great Malacca trading empire of the Middle Ages). I’m not familiar with many fantasy epics that take place in a S.E. Asia-inspired setting, so for that alone, the book is intriguing.

What’s also intriguing is how Nell creates a matriarchal society in the Ascom, a place where a theocratic regime of women priestesses rules the land, and where families are known by their mothers’ names. One of the things I find most exciting about this world is the tension between the different religious beliefs: the old ways which seem to be more pantheistic and which favor traditional manly values like strength and feats of arms, versus the priestess-religion which focuses on one god (actually a goddess) and its values of law and orderliness. The dichotomy is set up between a might-makes-right/Chaos belief system and a follow-the-laws-and-conventions-of-society/Lawful system. Of course, as we discover, the matriarchal Lawful society is actually brimming with corruption, so we also get to explore themes related to dealing with a corrupt system and what to do when the laws and conventions of a society break down. This stuff: I LOVED.

And I also loved the journeys the characters went on — at least through the first 3/4 of the book. Ruka and Dala’s journeys were my favorite — not because they were good people, but actually despite their not-good-ness. They are each crusaders, fanatics in their own ways, and yet I was sympathetic to them and to their brokenness. Kale, despite being the nicest guy in the book, was actually my least favorite of the three major story lines. While the Ruka/Dala stories felt original and startling, the Kale story felt a little bit like a hodge-podge of other stories (a little Kaladin and Bridge Four at times; other times I felt like I was reading the “Cruel Tutelage of Pai Mei” sequence from Kill Bill vol. 2). The Kale story isn’t bad by any means, but the lessons he learns and the themes that get explored felt a bit trite, especially when contrasted with the stories set in the Ascom.

For three-quarters of the book, I was entranced. Unfortunately, that last quarter was a bit of a disappointment. All of the thematic questions raised earlier in the story seemed to get dropped by the end. One of the characters deals with his “goal” at about the 70% mark, and then from that point forward switches into a much more straight-forward villain. He goes from having a complicated and twisted motivation — something that I both wanted him to achieve and also not achieve at the same time — to having a simplistic “Let’s go conquer stuff” motivation that I found uninteresting. It moves the plot forward, I guess, but it’s not as rich as what was happening earlier in the book.

The other characters, as well, end up being less interesting when the final chapters roll along. I don’t want to spoil things, but one character gets dropped from the narrative almost entirely, and the other turns into something from a video game. Almost everyone goes from being multifaceted to being one-or-two-dimensional by the end.

EXCEPTION: One of the female characters does something so deliciously soap opera-y at the very end that I was immediately hooked to read the next book. So that’s a good thing. Ending on a crazy high note cliffhanger is always good. And what’s great about the gonzo ending is that even though it’s outrageous in some ways, it also makes some kind of crazy sense too. Now I’m fascinated to discover more about this person and her inner motivations and desires. Again, Nell has a way of hooking us with great characters who have hidden depths.

I know I am in the minority in finding these kinds of flaws in the book, but the last quarter of the story really left me disappointed, especially in comparison with what came before. The pacing was perfect up until about the 70% mark, but then during the last 30% new POVs kept getting introduced, events happened at a breakneck speed, and it felt very “off” compared with the earlier sections. All of this rushing about meant that the themes suffered, the characters grew flatter, and the promise of early greatness felt a bit dashed.

All of these criticisms aside, Kings of Paradise is a very good book. The writing, at a craft level, is stellar. Nell knows what he’s doing with language and it shows throughout. He also knows what he’s doing with character (for the most part), and I am excited to see where things go in the next book. I cannot say this is a book I will reread, but it is a book I will heartily recommend.

4.5 stars

Ysbaddaden and the Game of Chess, Preview Chapter 2

For readers of my newsletter, I mentioned that I had written several thousand words of the Merlin half of this book and then decided to scrap it all and start over again. This is the first rewrite of that Merlin section. In some ways, I feel that it’s stronger than what I had before, but there are some moments from the earlier draft — and some ideas — that I kinda miss. The overall idea for the Merlin section is better now (I totally reconfigured how the chess game worked and what Merlin needed to do in order to play it), but there’s a part of me that misses some of the old stuff. I had some fun banter between characters, some imagery that I really loved, and some tense-y tension that was meant to set up future conflicts. It’s all gone now, lost inside a Scrivener file that will most likely never see the light of day…

Rewriting — or re-drafting from scratch — can be such a strange experience. The new stuff is often better, but there’s also a kind of grief that comes from losing the old stuff. Not all the old stuff: some of it is total crap. But the old stuff that *was* good, that had freshness and beauty. That’s the stuff that’s hard to let go. I am almost tempted to put the earlier draft side-by-side with this new draft, but then I worry that judgments and comparisons between the two will only stifle what I’m doing. I can’t look back. Not at this stage. At the drafting stage, looking back and comparing versions can often be debilitating for me. I start to question myself too much. At some point, I just have to trust my taste as a reader to discern which version is better and then go for it. At this point, the version below is the one I think is better. It’s the one I’m going with. For now.

Chapter 2: “Memories”

Merlin woke up and flexed his hand.

His staff was gone, his magic too. He was empty. Fumbling for his headphone, he put them on and pressed play. The music drowned his thoughts. He was sitting at the foot of a steep hill, and all around him swirled a sea of fog. He knew he was inside the chess game, but what he was supposed to do, how the game was supposed to work, he couldn’t fathom.

“Which is ridiculous,” he said to himself. He stood up and absentmindedly felt for the sack of unending on his belt. It was still there, but Merlin knew it wasn’t filled with much. Some books, some talismans that would be useless now that his magic was gone. No more thorns. Nothing.

Empty.

He felt the puncture marks under his arm, the tracks of his last-ditch effort to channel the magic of the elements. Scars that taunted him. He flexed his hand again and remembered the warmth of his oaken staff. He had his hands, his arms, all his limbs and senses. But he felt like a man who had lost a leg or an eye. He had his desire to do magic — he willed it with every fiber of his being — but his body would not comply. The elements had abandoned him. He was helpless. Powerless.

Merlin turned the volume up on his cassette player. There was no use standing around. He began the trudge up the hill.
There was no sign of his opponent, no sign of his army. He was inside a chess game, but Merlin had no king, no rooks, no pawns, nothing. He tried to remember the centuries ago when he had first crafted the game, a feat of magic that used all his skills of glamour, all his powers for crafting talismans. He couldn’t have done it without the power of his staff. He remembered doing it, but he couldn’t remember how it worked.

The crest of the hill approached. Merlin could see the sky widening above him, the fog drifting up into the clouds above. Atop the hill, spreading its branches out wide like the arms of a dozen waking giants, sat a great oak tree, brown and bright green and thick as a castle tower. The first thing Merlin noticed was the huge sword stuck in the trunk of the tree. The second thing he noticed was Taliesin sitting on a stone chair underneath it.

The bard smiled as Merlin approached. There was a stone table in front of him and another stone chair sitting empty across from him. On the table sat the chess board, gleaming gold and covered in one set of raven-black pieces. Taliesin’s pieces.
The black ivory jogged a memory. The raven pieces of Gwenddolau, the ancient lord who Merlin had made the chess game for all those centuries ago. The lord who had lost the game to Rhydderch the generous, and lost the Sword as well.
Merlin flicked off his cassette player and walked over to the bard. “You picked the wrong pieces,” he said.

Taliesin looked older than Merlin, but Merlin still thought of the man as the youth who had come to him looking for power and knowledge.

“I thought you’d never come,” Taliesin said.

“I wouldn’t miss it.”

“Take a seat so we can begin.” Taliesin nodded at the stone chair opposite. “I’ve given you white.”

“The young man’s pieces,” Merlin remembered. “Rhydderch’s.” He walked over to the chair and saw the leather pouch resting on it. He picked it up and opened it. Inside were pieces of white ivory. Merlin sat down and started to set his pieces on the golden board.

“I thought this was a living chess game,” said Taliesin.

“So did I.”

Taliesin raised an eyebrow. “But didn’t you make the game?”

“Yes, for Gwenddolau, a minor lord of old Britain. But I never played it. And he never spoke of it.”

“Embarrassed by his loss, perhaps?”

“Perhaps. He played the black, you know. Rhydderch defeated him with these very pieces.” Merlin placed his last piece on the board. The queen.

“I’ve been generous then. I hope you have worse luck.”

“Does luck have anything to do with it?”

Taliesin looked up at the Sword that hung over them. “A Sword to strike a god.”

“I guess you’ve already tried pulling it out,” Merlin replied.

Taliesin nodded. “Unsuccessfully.”

“Of course. And no spell would work?”

“None. A clever bit of magic, Merlin. Hiding it in the game, keeping it as a prize for the winner.”

“I was always good at magic.”

“And yet magic won’t help you here.” Taliesin gestured at the game board, the pieces arrayed on each side. “We must play, nothing more, nothing less.”

Merlin didn’t answer. Somehow he knew there was more to their game. A sudden reluctance — a fear — crept into his heart.

“White begins,” Taliesin said as he sat back in his chair. His body relaxed, his legs extended. He let his arms rest comfortably, one hand on his thigh, the other dangling by his side. His lips held a slight smile while his eyes stared unblinking at Merlin.

Merlin looked down at the board and waited. He vaguely knew which move to start with, but something held him back.

“Or you could quit this folly and rejoin the gods you once served,” Taliesin said. “It’s up to you.” The smile curled into a smirk.

Merlin met the bard’s gaze. “The gods who killed you?”

A darkness passed over Taliesin’s face. His smile vanished. “Make your move, Merlin.”

“No use over-thinking it, is there?” Merlin didn’t flinched. His fingers reached for a pawn, ready to move it forward two spaces. But as soon as his skin touched the ivory, everything around him flashed out of sight. The tree, the stone table, the golden board, the dark face of Taliesin — everything was gone.

Merlin was running. He was reaching up to grab the rough bark of a tree limb. He was laughing, smiling at the dog that ran at his heels. A mutt. Happy slobber hung from its lips and tongue. Eyes danced as they looked up at Merlin. Merlin was climbing the tree, the dog jumping to catch him, the green leaves brushing his skin, hiding the sun’s harsh glare. The oak tree. His first. The secret world of leaf and limb, the web of strong bark and ever-extending branches.

Merlin relived the memory even as he seemed to be watching it from afar: the first time he had climbed a tree. He looked down with his seven-year-old eyes, smiled at the joyful dog at the base of the tree, laughed with the drunkenness of freedom.

Merlin’s fingers jerked away from the ivory pawn. The memory vanished. The game piece rattled uneasily but didn’t topple. When it had stopped teetering, there was silence. It was still in its starting position.

Out of breath, Merlin looked up to see Taliesin staring at him. “I saw—“ Merlin began, but he couldn’t finish.

Taliesin leaned closer, curiosity replacing his former enmity. “Your eyes went white. Cloudy like a blind man’s.”

“I was gone. Back into the past.”

“A memory?”

“It was as real as you are. A moment from my childhood.”

Taliesin sat back again, the smile returning. “Curious. But it’s still your move.”

Merlin realized he had not actually moved the pawn. But when he went to pick it up again, he flinched. It had been a pleasant memory — one of the best memories of his life, long-buried but strong — but there was an intensity to such a memory, he wasn’t sure he wanted to relive it again.

“Move, Merlin.”

He had no choice. He looked up and saw the Sword of Rhydderch hanging over him, taunting him. He picked up the pawn again and pushed it forward two squares.

Nothing happened. No memory, no oak tree, no dancing dog.

“You haven’t played in awhile, have you?” Taliesin asked.

“Does it show?”

“I was hoping for more of a challenge. I’ve been waiting a long time for this moment.”

“Student against master?”

“Something like that, yes.”

Merlin flexed his hand. Still empty. Still useless without the oaken staff to hold. “What are you waiting for? Finish me and end my desperate quest.”

But now Taliesin hesitated. His hand hung above the pieces on the board, unsure of what would happen should skin touch ivory.
Merlin hated the hesitation and the silence. He suddenly couldn’t help but hate the man sitting across from him. There was too much to forgive. “Should we get it out of the way now? While you’re pondering your opening move?”

Taliesin stopped and scowled. “What’s that supposed to mean?”

“The conversation where you explain what in all the various hells is happening. Where you tell me why you’re alive and why you’re serving the old gods. The story of how we ended up here, with me on one side and you on the other. The Cath Palug, the half-dwarf, the Thirteen Treasures. All of it.”

“Oh, Merlin.” Taliesin laid his hands in his lap. “I wasn’t sure I recognized you. No beard. No hair even. So much younger than I remembered. And yet your arrogance is unmistakable.”

“I’m arrogant because I want to know the truth?”

“Because you think you deserve it. As if knowing the why means you can control this situation.”

“I don’t want control, Taliesin. I want to understand. We shouldn’t even be on opposite sides.”

“You’re right. You should be working with me to resurrect Manawydan. You should be making the sacrifices by my side to bring back Rhiannon. You should be opening the gateway yourself to welcome Gwyn ap Nudd to the land of the living. And yet you sit there and strive to win the Sword that can wound our masters. You are the traitor, Merlin. Not me. And that is all there is to tell.” A spell of flame — forged by rage — sprang to Merlin’s lips. But there was no power inside him to call forth the flame, no friendship to help the flame hear him. The spell died even before it had been born.

“Make your move,” Merlin said.

Taliesin picked up his knight and his eyes turned black. His body froze. Merlin watched as he entered some kind of trance.
And then in a moment the trance was over. Taliesin’s hand had moved the knight. His arm was shaking as he pulled it back across the board.

“A memory?” said Merlin.

Taliesin nodded.

“A good one?”

No answer. But the bard’s body was no longer relaxed. He didn’t lean back in his chair; instead, he leaned forward, elbows on the stone table, eyes fixed upon the board.

“Well, at least we’re starting to figure out the magic of the game,” said Merlin brightly. Taliesin’s unease gave him confidence.

“Your move, Merlin.”

“Not even a hint of what you saw?” Merlin looked over the board and wondered whether to move another pawn or one of his own knights.

“Just play the game.”

“I thought I was. Did you see a memory from your childhood? I wonder if that’s how it works. The game tries to distract us with memories from our past.”

“Are you trying to distract me now?” Taliesin growled. “It won’t work.”

Merlin’s hand hovered over his knight. “Not at all. Just filling the silence with some chatter. Maybe you can play a tune when it’s my turn. Something pleasant. Or else, maybe I’ll put my headphones back on.” He held up the portable cassette player.

Taliesin raised an eyebrow.

“Haven’t gotten out much since you’ve been back? I can understand. It must be busy work trying to plan out the destruction of your homeland.”

“You have very little understanding, Merlin. Neither I nor the ones I serve seek to destroy Britain. We simply want to restore it.”

“To a hellish nightmare of chaos and unrestrained, unrelenting power? Somehow I doubt the people of Britain would welcome that restoration.”

“I don’t care about the people of Britain.”

“Spoken like a true servant of the old ones.”

“Just make your move.”

Merlin resisted the aggressive move with his knight. Instead he moved another pawn.

Pain seared his mind. Red flaming eyes flashed in a torch-lit darkness. Screams. A woman crying out. Then a baby’s tortured squeals, and the heavy breathless panting of a woman after labor. The flaming eyes flashed once more, then darkness, and orange shadows on the wall. A hovel, an earthen house, a bed of musty straw. A gentle hand across the baby’s cheek, a warm kiss, and then the softness of a breast.

Merlin blinked and then returned to the stone table and the game. He found himself holding his breath.

“And will you tell me what memory came this time?” said Taliesin. He had a cruel look of satisfaction on his face.

Merlin managed to breath again, heaving in two gulps of air. “No,” he said through dry lips.

How could he speak of such things to Taliesin? How could he ever explain? How was it even possible that he should see and relive such a memory?

Merlin couldn’t explain. All he knew was that he did not want to touch that pawn again. The power of that memory was too much. Too deep.

Merlin looked down at the board. The pieces were all in their squares, each space on the board was ordered and measured. But what the game contained could not be measured. It was not orderly or even logical. It contained the faded, messy, inscrutableness of memory — memory brought to vivid life. The game was life. Merlin’s life — and Taliesin’s — brought back from the depths of forgetfulness and time. To relive these moments, even for a second, was almost too excruciating to contemplate.
Merlin looked at the game, heart pounding, and realized what it would cost him to play.

He was not sure he wanted to pay such a price.

The Guide to Being a Slow Writer

It’s time for me to confess: I am a slow writer.

I’ve tried to up my word count, to keep track of daily words, to do word sprints. I’ve tried getting up early; I’ve tried staying up later. I’ve tried finding my “peak writing time.” I’ve tried dozens of motivational methods, “productivity hacks,” and the like. But nothing has worked.

I am slow. Some days, I write 150 words. Some days, I don’t write at all. This is mostly due to time and energy. Working, taking care of two small children, and being pregnant with a third child all take their toll on my free time, physical stamina, and mental focus. This isn’t me grouching; it’s simply a fact of life and who I am. Maybe I have an iron deficiency, I dunno. But some days, I’m just not feeling it.

Some days, I can write closer to 2,000 words. When those days come, I’m grateful for them, but I have no idea how they happen or how to replicate them. In fact, I don’t think I’m supposed to replicate them.

Because I’ve come to learn that my creative process is not linear or predictable. Some might say that I need to get more disciplined, or that I need to treat writing like a job. Set the alarm for 5:00 a.m. and write those 1,000 words, dammit. But I already have a job; it’s a necessary evil. I don’t want my writing to become my job. Bradbury said, “Relax, don’t think, work.” Work is awesome; I love to work. I love to work on my blog posts, I love to work on my role-playing campaigns, I love to work on my lesson plans for teaching. Work — the kind that stimulates my heart and imagination — is fun.

But a job? A job is a drag, man. A job is stress. A job is plugging away at something simply because bills got to be paid and if they don’t, we’re living on the streets.

I don’t want writing to be a job; I do my writing to get away from my job.

What I’ve learned about myself over the past few months is that I need to let my imagination stew and ferment and congeal in order to be productive. What does it mean to stew, ferment, and congeal? It means I need to write in my “writer’s notebook” even if what I’m writing about has nothing to do with my Work In Progress (WIP). It means I need to listen to music that gives me goosebumps, or music that challenges me, or music that I’ve never heard before, or music I’ve heard twelve-dozen times. It means I need to spend a day writing a D&D adventure, or making up a character for my FATE campaign, or reading Conan stories. It means I need to go outside and play “Adventure” with my three-year-old instead of squirreling myself away from my family because “Mama needs to work.” It means watching Prisoner of Azkaban because it pumps me up, even though I could be using that time to write.

This isn’t procrastination. Procrastination is screwing around on twitter for three hours a day. Procrastination is not reading the latest SPFBO novel on my kindle, but reading a bunch of dumb political stories online instead. Procrastination is watching Antiques Roadshow all evening when I should really be noodling around in my writer’s notebook.

But listening to evocative music? That’s part of my writing process. Working on a side project? That’s part of my writing process. Doing something every day to stay in contact with my WIP, even if that means just rereading what I wrote yesterday? That’s part of my writing process. If that means it takes me several months to finish a draft instead of four weeks, then so be it. That’s several months of FUN instead of four weeks of hell.

And I’m not one of those writers who hates writing but likes “having written.” I LOVE when I’m actually writing; it’s like the greatest challenge and the biggest natural high all rolled into one. But I don’t love feeling like I have to do it, or that I’m a failure if I don’t do it everyday. I don’t love having a word quota. It looms over every word I write, that damn quota; it casts unforgivable, judgmental glares in my direction. It’s like having a boss leaning over my shoulder and tut-tutting every choice I make. No thanks! I’ll stick with undisciplined and happy, if that’s alright with the rest of you.

And I know there will be writers out there who will challenge this and say I’m just fooling myself. But when I try to set daily quotas, or I try to stick to a certain writing time, when I try to keep pace with other writers who release three or four books a year (or more!), I find myself mired in self-hatred, stagnation, and, ultimately, joyless writing. I don’t want writing to be joyless. I don’t want it to be a source of stress. And, well, maybe that means I won’t be a six-figure author (or even a five-figure one). And I’m okay with that. I don’t want writing to be “just a hobby,” but I’m not going to go against my nature just for the sake of a career.

I suppose this makes me a lousy entrepreneur. I’m okay with that.

I’m also okay with being a slow writer. In fact, I’m more than okay with it. I love it. Writing slow means writing with joy; it means making every moment of my day into a “working on my novel” moment. When I don’t have the obligation to write, I find my mind is more eager to engage with my story even when I’m doing other things.

Can’t manage to find the mental energy to write today? Totally fine. I managed to come up with a cool idea for my story while fixing lunch. Can only manage fifty words on my WIP? Awesome! Those are fifty words I didn’t have yesterday. Noodled around with that mega dungeon I’m stocking for my next RPG session? Excellent. It gave me a chance to be creative while stepping away from my WIP. Hearing a cool song pop up on my iPod (one I haven’t heard in ages)? Love it. That’s inspiration for the next scene I need to write.

When I make storytelling and creativity a seamless, integrated part of my life, I find that writing becomes easier, and that I have less pressure to switch from “writing time” to “other parts of my life” time. They all become the same thing. And by scaling back my goals, by keeping my deadlines modest, I become a happier, less stressed person.

Writing should be fun. And if that means being a slow writer, then I claim that title and wear it proudly.

I am a slow writer. And I love it.

The Golden Age of Geekdom

thI decided to set my series, Merlin’s Last Magic, in the 1980s because, for me, the 1980s were the “golden age” of fantasy-related stuff: Conan. Red Sonja. Labyrinth. The Dark Crystal. The Last Unicorn. The Neverending Story. Ladyhawke. Dragonslayer. Legend. The Dragonlance Chronicles. HeroQuest.

I grew up in the 80s, and because fantasy seemed to be everywhere during that decade, my imagination was fertilized by all of these movies, books, and board games. In writing Merlin’s Last Magic, I wanted to give a little nod to the decade that nurtured me.

But as I was preparing to write this post, I realized that perhaps the 1980s weren’t really the golden age. Or, if they were the golden age, then perhaps they’ve given birth to an even more exciting and fertile age for fantasy genre stuff: Right now.

I contend that perhaps it wasn’t the 80s at all that were THE decade for fantasy lovers; perhaps that time is now. Perhaps we are living in the true golden age at this very moment (the Platinum Age, perhaps). Just look around: fantasy and science fiction have never been more mainstream or popular, from HBO’s Game of Thrones to the Marvel movies to fantastic writers like Patrick Rothfuss, Brandon Sanderson, and Neil Gaiman (all of whom are being courted by Hollywood for big-budget adaptations of their work).

Being “Geek” is cool. Nerds no longer hide their obsessions but display them proudly. San Diego Comic-Con (not to mention the dozens of other conventions that have gained prominence in the last decade) has become Mecca not just for comics nerds and sci-fi geeks but for big-name celebrities and the mass media at large. When I was twelve, I tried to hide my love for J.R.R. Tolkien and Middle-Earth; when I turned twenty, Peter Jackson’s The Fellowship of the Ring was debuting in theaters, and suddenly, I didn’t have to hide anymore.

I think this new geek renaissance can be credited to both Jackson’s films and the Harry Potter phenomenon. Without either of these two creations, my fellows geeks and I would most likely still be part of a niche genre, something that the “wider world” looks down on with slight disdain. But because Jackson’s movies were incredible international hits, and because Harry Potter continues to be a straight-up juggernaut in the film and literature worlds, suddenly being “geeky” was cool. The media at large (and the people who consume it) are always gravitating towards what makes money, what sells. And starting with Harry Potter and the Lord of the Rings movies, fantasy started to sell, and sell hard.

The success of the Game of Thrones TV show has cemented fantasy as a genre that adults can and should enjoy. Now we have TV shows like The Magicians, Vikings, and American Gods, (not to mention the Marvel and DC superhero shows), and no one is hiding their fandom for these SFF stories anymore. We are allowed to like (and even love) fantasy and science fiction in a way that was just not possible in the 1980s.

But we can’t dismiss the decade of my childhood. The golden age of geekdom that we are experiencing now is a direct result of the fantasy and sci-fi of the Reagan Decade. What do so many of today’s popular novelists, showrunners, and screenwriters have in common? We came of age in the 1980s (or at least, many of us did). We grew up soaking in the realms of Krynn and Fantasia and Thra. Our heroes were Conan and Molly Grue. We played endless hours of D&D and HeroQuest and Warhammer and turned all of those adventures into our first, fumbling stories and novels. Without the incubation of the 1980s, the golden age of today wouldn’t have happened.

For my own part, The Thirteen Treasures of Britain and the Merlin’s Last Magic series wouldn’t exist without the countless hours I spent reading Rosemary Suttcliffe’s Arthurian books, watching Excalibur when I was probably too young to be watching it, and playing Pendragon role-playing game (which, technically, I first discovered in 1990, but who’s counting). I learned to tell stories — and I learned to love telling stories — from reading MERP and RuneQuest and other fantasy RPGs, and then creating my own fantasy worlds in which to role-play. I fell in love with the realms of heroes by devouring books by Raymond E. Feist and Tracy Hickman & Margaret Weis. I became lost in the kingdoms of Faerie by watching Labyrinth, The Neverending Story, and  Willow like they were on an unending loop.

The stories I write now are the children of the stories I wandered in during my childhood. We are in an incredibly fertile age for fantasy and science fiction. But we cannot discount the debt we owe to the 80s. The cheesy special effects, the cliche story lines, the underground and misfit-like nature of these movies and books are there for us to see, in the hindsight of 30+ years. But these things do not diminish the magic and sway these stories still hold over us. If the future looks bright for SFF, it’s only because our destinies were forged in the fires of the gloriously geeky 80s.

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